of Veda Recital.pdf · 3 [email protected] Page 3 of 119 Contents 1 Veda Recital Concepts & Rules

Discussion Draft

Version 0.2 August 31, 2020

Basics of Veda Recital – 1

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www.vedavms.in Page 2 of 119

Version Notes: Version 0.2 dated August 31,2020

1. A separate Section has been added on Recital flow and pause.

2. More articulation has been done on Swarabhakti

3. More explanations shall be provided after going through Classical

SikshA texts in future. We are awaiting English translation of some of these

Classical texts.

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Contents

1 Veda Recital Concepts & Rules ....................................................................................... 6

1.1 The Separator ‘|’ and ‘||’ ........................................................................ 6

2 Rules for Anuswara .......................................................................................................... 9

2.1 Basics ...................................................................................................... 9

2.2 Reading the Veda books/texts ............................................................ 10

2.3 anuswAram followed by Consonants Examples: ............................ 11

2.4 Not to Convert ‘n’ into anuswAm ....................................................... 14

2.5 AnuswAram in OM : ............................................................................. 14

3 AnunAsikam .................................................................................................................... 16

3.1 Relative strength of anunAsikam ....................................................... 18

3.2 No anunAsikam for Sandhi-formations ............................................. 19

4 Rules for ‘gm’ and ‘gg’ ................................................................................................... 20

4.1 Rules for gm (óè) ................................................................................... 20

4.2 Normally ‘M’ merges with following vowel ...................................... 24

4.3 Swaras (Vowels) óè Exception ........................................................... 25

4.4 Rules for gg (ò ) ................................................................................... 29

4.5 Application of (gm) or (gg) –with lighter Stress ............................... 32

4.6 Swaram rules or acquisition by gm and gg ...................................... 34

4.7 Rendering of ‘gm’ and ‘gg’ from Other Veda Schools ..................... 37

5 Special Vedic recital Rules ............................................................................................. 39

5.1 Extension of ‘r’ ( Uç., �, ª) or SwaraBhakti ......................................... 39

5.2 Extension of ‘l’ ( Uç., �, ª) or SwaraBhakti ......................................... 41

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5.3 Extension of Halants at the end of the Statement: .......................... 47

5.3.1 Special note on ‘n’ at the end of the Statement: .............................................. 49

5.4 Extension of Vowel Sound/Visargam at the end of the Statement52

5.5 Extension of Dheerga Letters to Plutam at the end of the

Statement: ........................................................................................................ 55

5.6 Areas to give pause when words cannot be taken together ........... 57

5.7 Areas with no distinct/full sounds for letters ................................... 61

5.7.1 Combinations of ‘n’,’th’ ...................................................................................... 61

5.7.2 The word ‘Ru’ after two halant letters: .............................................................. 63

5.8 Extension/Pause before Vowels ......................................................... 63

5.9 Halant “h” followed by Nasal Letters ................................................ 65

6 Overview Rendering flow and Pause ............................................................................ 68

6.1 SamhitA and components................................................................... 68

6.2 Reference in prAtiSAkyam: ................................................................ 69

6.3 Common Approach: ............................................................................ 71

6.4 Words combinations: .......................................................................... 72

6.5 Ending is a Vowel sound: ................................................................... 72

6.5.1 Combination of Vowels ...................................................................................... 73

6.5.2 Formation of Avagraha ...................................................................................... 75

6.5.3 Generation of different Vowel sound ................................................................ 77

6.5.4 Sandhi not performed ........................................................................................ 80

6.6 Ending in Visargam ............................................................................. 81

6.6.1 Substitution of Letter ......................................................................................... 81

6.6.2 Visarga is dropped ............................................................................................. 83

6.6.3 Change of letter .................................................................................................. 84

6.6.4 Avagraha is formed ............................................................................................ 85

6.7 An anuswAram at the end: ................................................................. 86

6.7.1 AnuswAram combines with following Letter ................................................... 86

6.7.2 AnuswAram becomes (gm) or (gg) ................................................................... 87

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6.7.3 AnuswAram is retained ...................................................................................... 89

6.7.4 AnuswAram is recited differently ...................................................................... 90

6.8 Ending is a halant ................................................................................ 91

6.8.1 Halant forms a Swarayukta/Samyukta akshara: .............................................. 91

6.8.2 Halant joins next letter with only letter pause .................................................. 92

6.8.3 There is substitution of Letters ......................................................................... 94

6.8.4 Usage of special Sandhi Rules .......................................................................... 96

6.9 General Rule of combination : ............................................................ 98

6.10 Recital flow should match with Padam in SamhitA: ........................ 98

6.11 Some Special Rules for SikShA ....................................................... 103

7 Different Applications of (gm) and (gg) ....................................................................... 110

7.1 Rules from prAtiSAkyam................................................................... 110

7.2 Explanation with Examples .............................................................. 111

7.3 Examples for words with dheerga letters ....................................... 114

7.4 Different interpretation of Rule ......................................................... 115

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1 Veda Recital Concepts & Rules

1.1 The Separator ‘|’ and ‘||’

A statement is marked with a separator ‘|’ in books indicating the end of a

statement. (paadam or leg). For easy reference let us call this separator as

Ruk-Stop or Vedic Full-Stop. While reciting, a pause must be given before the

start of the next statement. (2nd paadam or leg ).

When the Chandas/MantrA ends, it is marked as ‘||’ (double vertical line) at the

end of the statement. (last paadam of the Chandas/MantrA) .The Concept of

Chandas is statement with predefined number of Letters / aksharas with well

defined grammer rules. (Example: “Gaayatri Chandas”, “Anushtup Chandas”

etc).

Examples of Chandas shall be provided in a separate Article – Basics of Veda -

Chandas

A statement with a set of words ending with a separator is called a ‘Ruk’ in Veda.

Note: The last aksharam/letter of a statement ending with either of the separators (Ruk) cannot have an anudAttam (lower) swaram.

iÉÇ iuÉÉþ pÉaÉý xÉuÉïý C‹ÉåþWûuÉÏÍqÉý xÉlÉÉåþ pÉaÉ mÉÑU LýiÉÉ pÉþuÉåýWû || த��வா† ப4க…3 ஸவ … இ�ேஜா †ஹவ�மி … ஸேனா † ப4க3 �ர ஏ …தா ப †4ேவ…ஹ ||

ZI Zûx— hM– sªp– C¥¸x—tpziy– s¥dx— hM e¡k G–Zx h—¥p–t ||

This is from Bhaagya Suktam as rendered together. But when it is rendered in a

split form, as in Udaka Shanti, the original statement first part will be as follows

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with no AnudAtta for ‘mi’. The letter ‘mi’ has infact acquired AnudAtta to support

upcoming ‘sa’ which is udAttam, due to combining two statements.

iÉÇ iuÉÉþ pÉaÉý xÉuÉïý C‹ÉåþWûuÉÏÍqÉ | xÉlÉÉåþ pÉaÉ mÉÑU LýiÉÉ pÉþuÉåýWû || த��வா† ப4க…3 ஸவ … இ�ேஜா †ஹவ�மி |

ஸேனா † ப4க3 �ர ஏ …தா ப †4ேவ…ஹ || ZI Zûx— hM– sªp– C¥¸x—tpziy | s¥dx— hM e¡k G–Zx h—¥p–t || AÉåÇ pÉÔÈ| iÉixÉþÌuÉiÉÑuÉïýUåÿhrÉÇ | AÉåÇ pÉÑuÉþÈ | AÉåÇ pÉÔÈ | iÉixÉþÌuÉiÉÑuÉïýUåÿhrÉýÇ pÉaÉÉåïþ SåýuÉxrÉþ kÉÏqÉÌWû | ஓ� �4: த�2ஸ †வ�…� வேர‡�ய� |

ஓ� �4வ †:, ப4ேகா †3 ேத …3வ�ய† த�4மஹி |

ஓ� �4: த�2ஸ †வ�…� வேர‡�ய …� ப4ேகா †3 ேத …3வ�ய † த�4மஹி | HxI h¢J - ZÄ—pyZ¡ªp–¥k˜YõI | HxI h¢J - ZÄ—pyZ¡ªp–¥k˜Yõ–I hª¥Mx— ¥b–psõ— czity |

The first statement does not have an anudAtta/lower swaram since the yam in “vareyNyam” is the last aksharam of a Ruk and does not acquire any swaram. The second statement vareyNyam is combined and the yam acquires anudAttam swaram to support upcoming ‘Ba’ which is udAttam. The Start of a Ruk, the first akshara of the word/padam generally cannot be a Dheerga Swarita. But there are exception. The only exception we see is with the letter OM and the rest due to Sandhi Rules:

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Example:

AÉåÿÇ iÉSèoÉëý¼É | AÉåÿÇ iÉ²ÉýrÉÑÈ | AÉåÿÇ iÉSÉýiqÉÉ | AÉåÿÇ iÉjxÉýirÉÇ | ஓ‡� த�3 3ர …!ம | ஓ ‡� த�3வா …": | ஓ ‡� ததா …3�மா |

ஓ‡� த�2ஸ …�ய� | Hx˜I Zb§ög–Öx | Hx˜I Zbûx–j¡J | Hx˜I Zbx–Ãx | Hx˜I Za§s–ZõI | Some Special rules due to Sandhi will be articulated in our Article on Dheerga Swaritam. One example is shown below where the first letter acquires Swaritam due to Sandhi Rule.

rÉ: AýalÉåUÉýrÉiÉþlÉýÇ ÆuÉåSþ |

ய: அý$3ேனரா …யத†ன …� Æேவத†3

jJ A–¥²kx–jZ—d–I Æ¥pb

rÉÉåÿÅalÉåUÉýrÉiÉþlÉýÇ ÆuÉåSþ |

ேயா‡Å$3ேனரா …யத †ன …� Æேவத †3

¥jx˜„¥²kx–jZ—d–I Æ¥pb A

Similar statements with swaritam or dheerga Swaitam will appear as the first letter, if a Nitya Swara (Swaritam) is formed. E.g of words are

§rÉÇþoÉMüÇ , �ய †�ப3க� , öZõI—gKI

ÎxuÉþ¹Ç , �வ� †%ட�, sûy—ræI

Kindly refer to our Article on Pada Paatam and Swara Flow for details.

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2 Rules for Anuswara

2.1 Basics

The letters which are derived from base vowel Anuswara, ‘am’ (AÇ) are all called AnuswAras. (Classical text reference is ‘anusvAraH’)

Example, ‘kam,tam,ram,sam,Sham, yam’. MÇü, iÉÇ , UÇ, xÉÇ, zÉÇ, rÉÇ, Dheerga letters and conjunct consonant letters with dot are

also anuswAra letters only.

Mçü + AÇ = MÇü, zÉç+ AÇ = zÉÇ

Mçü + AÉÇ = MüÉÇ zÉç+ AÉÇ = zÉÉÇ

In Sanskrit , zÉÇMüUç , will be read as zÉƒ¡ûUç and not as zÉqÉçMüUç. The ‘Xèû’ will

follow if the first letter is from ‘ka’ vargam. That is aÉÇaÉÉ will be read as aÉ…¡ûÉÉ and

not as aÉqÉçaÉÉ ! The ‘m’ in the middle of the statement/word is presented as anuswAra.

The ‘m’ at the end of the statement/Padams are represented as ‘m’ without

anuswAram dot. But in modern books, it has become a pratice to print a word

with ‘m’ ending with anuswAra. This is not preferred in the classical text.

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There are differing views given in PS by various Rishis/Mahans of the past.

PS 17-1 SaityAyana says that the nasal quality is stronger in anuswAra and

the nasal mutes. (nasals of Consonant letters ~g,~j,N,n,m)

PS 17-2 Kauhaliputra says that it is the same everywhere.

PS 17-3 BhAradvAja rishi says it is faint in anuswAra compared to nasals of

Consonants.

Currently VedaVMS compilations use anuswAram symbols at the end of the

statements and words. It might take us some effort to represent them as ‘m’

due to the volume of compilations already released.

Generally the ‘m’ at the end of the statement/word shall have lesser nasal

twang/tinge. Readers shall correctly pronunce the ‘m’ at the end of the statement.

Also remember to follow the teachings of your Guru. The representation is not

affected in Tamil and Malayalam languages as the ‘m’ is represented separately.

2.2 Reading the Veda books/texts

In Veda text reading, the convention followed in books may be different.

The fifth letter (nasal letter of the class) of the ka, cha, ta,Ta, pa varga ,

that is Xèû, gÉç , hÉç , lÉç, qÉç (WûsÉliÉç) will follow the letter with anuswAram of the respective varga.

zÉÇMüUç will be read as zÉƒ¡ûUç, aÉÇaÉÉ will be read as aÉ…¡ûÉÉ.

(Ka varga Mü, aÉ follow Anuswara)

This rule will be extended while combining the end of Anuswara at the

end of the first word with the first letter of the following word.

Note: Readers must note the convention followed in a specific book.

Many popular books printed for Veda Students print the vAkyam/SamhitA

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as it is “to be read”. So these rules are already applied to the text while

compiling the book like zÉƒ¡ûU. Some print with AnuswAram only like zÉÇMüU.

Note: Vedavms compilations are printed with anuswAram and readers must

recite correctly with substituting nasal class of the following letter.

PS 5-27 says – “ a “m”, when followed by a mute, (Consonant) the ‘m’

becomes the nasal of like position(nasal of the Consonant) with it.

Let us see examples:

2.3 anuswAram followed by Consonants Examples:

As written in the book To be read as Rule applied

WûýÌuÉUÉýxÉÇ eÉÑþWûÉåiÉlÉ

ஹ …வ�ரா …ஸ�

ஜு †ேஹாதன

t–pykx–sI

R¡—¥txZd |

WûýÌuÉUÉýxÉgeÉÑþWûÉåiÉlÉ

ஹ …வ�ரா …ஸ(

ஜு †ேஹாதன

t–pykx–sT§ R¡—¥txZd |

Use of ‘gÉç’ for ‘ca’ vargam

Use of ( ‘for ‘ச’ vargam

Use of T§ ‘for ‘P’

vargam

SìÌuÉhÉÇ cÉ qÉå

�3ரவ� †ண� ச ேம,

SìÌuÉhÉgcÉ qÉå

Use of ‘gÉç’ for ‘ca’ vargam

Use of ( ‘for ‘ச’

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öbpy—YI P ¥i,

�3ரவ� †ண(ச ேம,

öbpy—YT§ P ¥i,

vargam

Use of T§ ‘for ‘P’

vargam

lÉ¤Éþ§ÉÇ SåýuÉÍqÉþÎlSìýrÉÇ

ந, †�ர�

ேத…3வமி †��3- …ய�

d±—öZI

¥b–piy—öÉy–jI |

lÉ¤Éþ§ÉlSåýuÉÍqÉþÎlSìýrÉÇ

ந, †�ர�

ேத…3வமி †��3- …ய�

d±—öZd§

¥b–piy—öÉy–jI |

Use of ‘lÉç’ for ‘ta’ vargam

Use of ‘�’ for ‘த’ vargam

Use of ‘d§ for ‘Z’

vargam

´Éå¸Éåþ SåýuÉÉlÉÉÇý

mÉÌiÉþUÎblÉýrÉÉlÉÉÿÇ

.ேர%ேடா †2

ேத…3வானா …�

´Éå¸Éåþ SåýuÉÉlÉÉÇý

mÉÌiÉþUÎblÉýrÉÉlÉÉÿÇ

.ேர%ேடா †2

ேத…3வானா …�

anuswAram rendered as

it is no change since the

following letter is of ‘pa’

vargam where ‘m’ needs

to be used.



following letter is of ‘ப’

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பதி †ர$4ன/ …யானா ‡�

¥öq¥rçx— ¥b–pxdxI–

eZy—kNïy–jxdx˜I |

பதி †ர$4ன/ …யானா ‡�

¥öq¥rçx— ¥b–pxdxI–

eZy—kNïy–jxdx˜I |

vargam where ‘�’ needs

to be used.



following letter is of ‘e’

vargam where ‘m’ needs

to be used.

zÉýiÉ zÉÉþUSÉlÉÉÇ-ÌlÉuÉÉýiÉ

ஶ…தஶா †ரதா3னா�

நிவா …த

q–Z qx—kbxdxI

dypx–Z

zÉýiÉ zÉÉþUSÉlÉÉ-ÌllÉuÉÉýiÉ

ஶ…தஶா †ரதா3னா�

நிவா …த

q–Z qx—kbxdxd§

dypx–Z

Use of ‘lÉç’ for ‘ta’

vargam as’lÉ’ is a part of

‘ta’ vargam only.

Use of ‘�¢’ for ‘த’

vargam as ந is a part of

‘த’ vargam only.

Use of ‘d§ ’ for ‘Z’

vargam as d is a part of

‘Z’ vargam only.

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2.4 Not to Convert ‘n’ into anuswAm

The normal representation of mantra “OM SAntiH SAntiH SAntiH” is

(AÉåÇ zÉÉÎliÉ–È zÉÉÎliÉ–È zÉÉÎliÉþÈ || This ‘n’ in ShAnti should not be represented as anuswAram.

“AÉåÇ zÉÉÇÎiÉ–È zÉÉÇÎiÉ –È zÉÉÇÎiÉþÈ || “ since the ‘n’ that follows SA is not ‘m’ and

would be an incorrect representation.

2.5 AnuswAram in OM :

Another major rule is that, OM when uttered at the beginning of the Statement

shall not be me merged with the following akshara.

Ghana DarpaNam Ref (99-104).

1. OM at the start shall be rendered in UdAttam.

2. OM shall not be joined with following akshara to make a Swarayuka or

Samyukta Akshara.

3. There should be distinct pause between OM and the following word.

4. The exceptions given for OM is for O(gm) suvaH, O(gm) Satyam in Yajur

veda paatam and further the six words that follow in the following mantra

from MahaNArAyaNOpaniShad

AÉåÿÇ iÉSèoÉëý¼É | ஓ‡� த�3 3ர …!ம | Hx˜I Zb§ög–Öx | Here the ‘M’ of OM can be rendered as ‘n’ because of the following letter is

of ‘ta’ varga and the ta varga nasal is ‘n’ so it can be

AÉåÿliÉSèoÉëý¼É | ஓ‡�த�3 3ர …!ம | Hx˜Çb§ög–Öx |

Generally, OM should have a pause and not merged with the following

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akshara.

Note: Many learners render “OM NamO BhagavatE Rudraya” as

“OnnamO Bhagavathe Rudraya”. Our guide clearly has instructed us

that as per SikSha, there should not be Sandhi but avasana/pause.

Similarly, “OM namO NarAyaNAya” is rendered without pause and with

sandhi as “OnnamO NarAyaNAya”. This is sub-optimal way of rendering.

5. The above reference book also give examples that OM ShAnti ShAnti

ShAnti shall be rendered without OM subjecting to Sandhi

ie, it is not O(gm) ShAnti.

Note: The convention of rendering HariH OM is different though there

is a common thread of reciting HariH OM in the Southern Part of India.

This is being covered in a propsed Article on Basics of Veda Recital –

Conventions.

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3 AnunAsikam

When the anuswAram is followed by the Semi-vowel group letters, ya,la,va, the ‘m’ of the anuswAram is recited with the respective sounds of yya,vva,lla with a nasal twang. Basically when we say ’m’ of the anuswAram, the lips close and our sages have given us the techniques/rules to pronounce the instances with necessary changes to make the recital smoother. AnunAsikam is marked

with the sign Æ ; some books print the same without the small horizontal line

shown above. This is marked before the letters starting with ‘ya.la.va’ group.

Sometimes the nasal sound along with l,y,v (WûsÉliÉç) is also marked to catch the

attention of the reader. When ‘l’ follows the nasal letter ‘n’ , the n becomes AnunAsikam. PS 5-28 -Followed by a semivowel, it becomes a nasal of like quality with it. PS 5-29 - But not when followed by r.

PS 5-25 – Both t and n, when followed by l, become l. (covered in Consonant Sandhi Rule Article) PS 5-26 - The n becomes nasalized l. Note: This rule is not only applicable across words but also in combination of Padams that create a new word.

As written in the book To be read/recited as

AýÎalÉ¢Ç ÆrÉÉ aÉpÉïÇþSÍkÉýUå

அ…$3ன/� Æயா க3ப †� த3தி …4ேர

A–²yIÆjx MªhI— bcy–¥k

AýÎalÉrrÉÉ aÉpÉïÇþSÍkÉýUå

அ …$3ன/1யா க3ப †� த3தி …4ேர

A–²yj§jx MªhI— bcy–¥k

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ESÒþ¨ÉýqÉÇ ÆuÉþÂhÉý

உ� †3�த …ம� Æவ†3ண … பாஶ

Db¡—À–iI Æp—k¡Y– exq—

ESÒþ¨ÉýqÉuuÉþÂhÉý

உ� †3�த …ம4வ †3ண … பாஶ†

Db¡—À–ip§p—k¡Y– exq—

Example of ‘l’ after ‘n’

lÉælÉÇþ ÆsÉÉåýMåü

ைநன†� Æேலா …ேக ேலா †ேக

¤¤ddI— Æ¥mx–¥K ¥mx—¥K

lÉælÉþssÉÉåýMåü

ைநன †7ேலா …ேக ேலா †ேக

¤¤dd— ¥møx–¥K ¥mx—¥K

LMüÉåý uÉÉ AýqÉÑÎwqÉþlÉç ÆsÉÉåýMåü qÉ×ýirÉÑÈ

ஏேகா … வா அ…8%மி †9 Æேலா …ேக

G¥Kx– px A–i¡rôy—© Æ¥mx–¥K

LMüÉåý uÉÉ AýqÉÑÎwqÉþssÉÉåýMåü qÉ×ýirÉÑÈ

ஏேகா … வா அ…8%மி †7ேலா …ேக

G¥Kx– px A–i¡rôy—m§¥mx–¥K

xÉqÉçÆuÉjxÉ–UÈ Here the padam consists of two parts –

sam + vathsaraH; so nasal is applied.

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ஸ�Æவ�2ஸ …ர:

sIÆpa§s–kJ

xÉ–ÆrÉÎliÉ– , ஸ …�Æய�தி … , s–ÆÐÇy– Here the padam constituents are

sam+yanti; so nasal is applied.

Note: Some books print the vaakyam with words as it is to be read without

AnunAsikam symbol. Some books also mark the anunAsikam symbol.

It must be noted that advanced books for readers do not indicate AnunAsikam

symbols. Students must take note of the conventions used in the book. In all our Compilations anunAsikam shall be marked distinctly before

the following ‘y.’v’ or ‘l’ letters. Kindly note this convention and render

mantras correctly.

3.1 Relative strength of anunAsikam

The letter ‘y’ is sourced at the front-middle of the mouth, the letter ‘l’ is more to the front as it is

dental and ‘v’ is labial (lip based). When we try to recite anunAsikam, the strength of ‘y’ is a

little stronger, the strength of ‘l’ is light and the strength of ‘v’ is lighter.

A learner should not be over conscious of stressing the nasal sound and by practice make it

easier and smooth. Kindly observe the anunAsikam effect by listening to recital by Pandits;

you will observe how light and effortless the ‘vva’ is and compare it with the rendering of

anunAsikam with ‘lla’ and ‘yya’, for letters va,la,and ya following anusvAram.

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3.2 No anunAsikam for Sandhi-formations

If Vowel Sandhi creates a combination of newly formed letters with

‘m’ followed by y or v, then this should not be nasalized.

Examples of words with Sandhi Explanation

AÉÌSimÉþzrÉÉ-qrÉÑ–iÉuÉÉþ ´É××hÉÉå–-qrÉÉqÉÉ–

ஆதி3�ப †.யா-�"…தவா†

.�ேணா …-�யாமா

BbyZ§e—qõx-iõ¡–Zpx—

q£¥Yx–-iõxix–

sRuNomi+A +mA generates sRuNomyA

mA. This is not the occurrence of y after

a word after anusvAram. It is rendered

together with a small pause after yA to

indicate presence of Sandhi.

xiÉÉæqrÉ–ÎalÉÇ lÉÉþÍjÉ–iÉÉå

�ெதௗ�ய …$3ன/� நா †தி …2ேதா

së¦iõ–²yI dx—ay–¥Zx

Here the Padams for Sandhi are staumi

+ agnim, that creates staumyagnim; so

this example to similar to the above.

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4 Rules for ‘gm’ and ‘gg’

4.1 Rules for gm (óè) The rules for ‘gm’ and ‘gg’ are applicable only in Yajur Veda.

When an anuswAram is followed by the letters in the Group of

‘ra,sa.Sa,Sha,ha’, the ‘M’ in the anuswAram is converted to (gM) .

(gM) is aÉç + qÉç = (aÉçÇ) or represented as (aqÉç) in letters.

The standard representation in printed books is “óè “. Some books print it without the tail like “ó “. There are few more

representations depending of the time of printing and readers must acquaint themselves with the representation in that book. This sound emanates from the back of the mouth (slightly above throat) with a light nasal effect. Please do not read it as ‘gum’ ; some Tamil books represent

this in words as >� which is not correct sound representation.

In slokas, óè is not used.

Let us see some common examples:

Original words/padams As represented in Veda

books/Vakhyam

Rule

aÉýhÉÉlÉÉÿliuÉÉ aÉýhÉmÉþÌiÉÇ

WûuÉÉqÉWåû

aÉýhÉÉlÉÉÿliuÉÉ aÉýhÉmÉþÌiÉóè

WûuÉÉqÉWåû

anuswAram before W

21


க…3ணானா ‡��வா

க…3ணப†தி�

ஹவாமேஹ

HxI | M–Yxdx˜Çûx

M–Ye—ZyI

tpxi¥t

க…3ணானா ‡��வா

க…3ணப†திóè

ஹவாமேஹ

HxI | M–Yxdx˜Çûx

M–Ye—Zyóè

tpxi¥t

anuswAram before ஹ

anuswAram before t

¤ÉÏýUÇ xÉýÌmÉï qÉïkÉÔþSýMÇü

,� …ர� ஸ…ப�

ம?†4த…3க�

±z–kI s–ªeyª

ic¢—b–KI |

¤ÉÏýUóè xÉýÌmÉï qÉïkÉÔþSýMÇü

,� …ரóè ஸ…ப�

ம? †4த…3க�

±z–kóè s–ªeyª

ic¢—b–KI |

anuswAram before xÉ anuswAram before ஸ

anuswAram before s

22


Ì§ÉÇýýzÉ®ÉqÉý ÌuÉUÉþeÉÌiÉý

�-…� …ஶ�3தா4ம …

வ�ரா†ஜதி …

öZy–I–qÆxi–

pykx—RZy–

Ì§ÉýóèýzÉ®ÉqÉý ÌuÉUÉþeÉÌiÉ

�-…óè…ஶ�3தா4ம …

வ�ரா†ஜதி …

öZy–óè–qÆxi–

pykx—RZy–

anuswAram before zÉ anuswAram before ஶ

anuswAram before q

rÉý¤qÉÇ xÉÑýqÉlÉÉý AxÉþiÉç |

ய…@ம� ஸு…மனா …

அஸ †�

j–±§iI s¡–idx–

As—Z§

rÉý¤qÉóè xÉÑýqÉlÉÉý AxÉþiÉç

ய…@மóè ஸு…மனா …

அஸ †�

j–±§ióè s¡–idx–

As—Z§

anuswAram before xÉ anuswAram before ஸ

anuswAram before s

iÉ³ÉÉåþ lÉÉUÍxÉÇWûÈ iÉ³ÉÉåþ lÉÉUÍxÉóèWûÈ anuswAram before W

23


mÉëcÉÉåýSrÉÉÿiÉç

த�ேநா† நாரஸி�ஹ:

ரேசா …த3யா‡�

Z¥Ëx—

dxksyItJ

öe¥Px–bjx˜Z§

mÉëcÉÉåýSrÉÉÿiÉç

த�ேநா† நாரஸிóèஹ:

ரேசா …த3யா‡�

Z¥Ëx—

dxksyóètJ

öe¥Px–bjx˜Z§

anuswAram before ஹ

anuswAram before t

qÉÉ ÌWÇþûxÉÏýýÈ mÉÑÂþwÉÇý eÉaÉþiÉç

மா ஹி� †A …:

�3 †ஷ(ஜக †3�

ix ty—Isz––J

e¡k¡—r–I RM—Z§ |

qÉÉ ÌWûóèþxÉÏýýÈ*

mÉÑÂþwÉÇý eÉaÉþiÉç

மா ஹிóè †A …:

�3 †ஷ(ஜக †3� |

ix tyóè—sz––J*

anuswAram before xÉ *Very commonly found

word.

anuswAram before ஸ

anuswAram before s

24


e¡k¡—r–I RM—Z§ |

4.2 Normally ‘M’ merges with following vowel

When anuswAram precedes a vowel like a, aa, e, ee etc, based on the

construction of the words in Vedas, the ‘M’ may combine with the a, aa, e, ee to

have ma, maa, mi, mee as a natural Swarayukta Akshara i,e. Vowel based

consonant.


books/Vakhyam

Rule applied

mÉÑþÂWÕûýiÉÇ ClSìþÇ xuÉýÎxiÉ

�†3ஹூ …த� இ��ர†�

�வ…�தி

e¡—k¡t¢–ZI CöÉI—

sû–sëy

mÉÑþÂWÕûýiÉÍqÉlSìò — xuÉýÎxiÉ

�†3ஹூ …தமி��ரò †

�வ …�தி

e¡—k¡t¢–ZiyöÉò—

sû–sëy

‘M’ + i has become ÍqÉ

oÉÉýWÒûprÉÉþqÉÇ EýiÉ iÉåý lÉqÉþÈ

பா …3ஹு 4யா †� உ …த

oÉÉýWÒûprÉÉþqÉÑýiÉ iÉåý lÉqÉþÈ

பா …3ஹு 4யா †8 …த

M’ + u has become qÉÑ

25


ேத… நம †:

gx–t¡hõxI— D–Z

¥Z– diJ—

ேத… நம †:

gx–t¡hõx—i¡–Z ¥Z–

diJ—

4.3 Swaras (Vowels) óè Exception

However when a vowel is follows the specific noun/pronoun class with dheerga

aksharaa ‘An,’In’ or ‘Un’ ending, the ‘n’ becomes anuswAram ‘m’ subject to

grammar rules, and it becomes ‘gm’ to indicate that it is not originally ‘m’ but

‘n’. In case the ending is ‘In’ or ‘Un’ an ‘r’ is added’ to indicate that the Padam is

‘In’ or ‘Un’ ending. The examples provided are indicative only.

These are covered in PS Chapter 9 (Rules 20-24)

Some Examples observed in SamhitA and from common known mantras are

given below:


books/VAkyam

Rule

T.S.1.2.14.1

UÉeÉåý uÉÉqÉþuÉÉýlÉç CpÉåþ lÉ

ராேஜ… வாம†வா …9. …

இேப †4 ந

UÉeÉåý uÉÉqÉþuÉÉýóèý CpÉåþ lÉ |

ராேஜ… வாம†வா …óè… இேப †4

ந

Sound

“An” before vowel

C Þ C

26


kx¥R– pxi—px–d§–

C¥h— d

kx¥R– pxi—px–óè– C¥h—d

T.S.4.5.1.4 ÌuÉzÉþsrÉÉåý oÉÉhÉþuÉÉlÉç EýiÉ

வ�ஶ7 †ேயா …

பா3ண †வா9 உ …த |

pyq—¥mõx–

gxY—pxd§ D–Z |

ÌuÉzÉþsrÉÉåý oÉÉhÉþuÉÉóè EýiÉ

வ�ஶ7 †ேயா … பா3ண †வாóè

உ…த

pyq—¥mõx– gxY—pxóè

D–Z |

Sound “An” before

vowel

E, உ , D

TS 1.3.8.2

SåýuÉÉlÉç + FýRèuÉýqÉç

ேத…3வா9+ ஊ…G4வ…�

¥b–px© + D¦–Xû–I |

SåýuÉÉóè FÿRèuÉqÉçè

ேத…3வாóè ஊ ‡G4வ�

¥b–pxóè D¦˜XûI

Sound “An” before

vowel

F, ஊ, D¦

27


TS 1.3.14.8

SåýuÉÉlÉç + CýW

ேத…3வா9 + இ …ஹ

¥b–px© + C–t |

SåýuÉÉóè CýWû

ேத…3வாóè இ …ஹ

¥b–pxóè C–t

Sound “An”before

vowel

C Þ C

T.S.5.6.1.2 Padams - sarvAn |

agnIn | aPsuShadaH

xÉuÉÉïlÉç AýalÉÏlÉç

AþnxÉÑýwÉSÉå

ஸவா9† அ …$3ன�9

அ† ஸு…ஷேதா†3

sªpx—d§ A–²zd§

A—fþ¡–r¥bx—

(updated after review of

Samhita Pada Paatam)

xÉuÉÉïóèþ AýalÉÏóè UþnxÉÑýwÉSÉå

ஸவாóè † அ …$3ன�óè

ர† ஸு…ஷேதா†3

sªpxóè— A–²zóè

k—fþ¡–r¥bx—

‘uÉÉlÉç’, õ£†ù¢ ,

px—d§ becoming

uÉÉóèþ , õ£†óè pxóè—

before vowel A ,

Ü, A

When dheerga ‘nIn’ is

followed by Vowel ‘a’

marked in blue, ‘n’

becomes ‘gm’ and a ‘r’

is added to make

aPsuShadO as

raPsuShado

28


T.S.4.2.8.3

uÉÉý | uÉýlÉýxmÉiÉÏlÉçþ | AlÉÑþ

வா… | வ…ன…�பத�9 † |

அJ † |

px– | p–d–sðZz©— |

Ad¡— |

Padam - vA | vanaspatIn | anu

uÉÉý uÉlÉýxmÉiÉÏýóèýUlÉÑþ

வா… வன …�பத� …óè …ரJ †

px– pd–sðZz–óè–kd¡

Note : ‘n’ of tIn

becomes (gm) and

anu becomes ranu

after (gm)

T.S.1.4.42.1

eÉýÌWû | zÉ§ÉÔlÉçþ | AmÉþ |

qÉ×kÉþÈ |

ஜ…ஹி | ஶ�K9† |

அப † | ��த †4: |

R–ty | qöZ¢©— |

Ae— | i£c—J |

eÉýÌWû zÉ§ÉÔýóèý UmÉý qÉ×kÉÉåþ

ஜ…ஹி ஶ�K …óè… ரப …

�3ேதா†4

R–ty qöZ¢–óè– ke–

i£¥cx—

Example similar to

above; preceding

sound ‘Un’. ‘apa’

becomes “rapa” after

(gm)

29


AalÉåý ¢üiuÉÉý¢üiÉÔýlÉçèý AlÉÑþ

அ$3ேன … $ர�வா …-

$ர? …9 … அJ † |

A¥²– öKZûx–-

öKZ¢–©– Ad¡—

AalÉåý ¢üiuÉÉý-¢üiÉÔýóèý UlÉÑþ

அ$3ேன … $ர�வா …-$ர? …óè …

ரJ † |

A¥²– öKZûx–-öKZ¢–óè–

kd¡—

Here sound before

vowel is Un.

‘anu’ becomes “ranu”

after (gm)

Important Note: This application of rule is based on the usage of ‘An, In, Un

based on context and the usage of the same is firm as per Grammar note.

When this rule is not applied, normal rule of joining halant ‘n’ would only

follow. There are specific set of rules defind along with words in

PrAtiSakyam for application of this rule.

PS also gives list of words that would retain their ‘n’ without change.

Example : paSUn + ava = paSunava, rudrAn+ajAyat = rudrAnajAyat

4.4 Rules for gg (ò )

The basic rule for application of ‘gg’ is same as in ‘gm’ except that the letter

following the anuswAram are Samyukta akshara conjuncts (joint letters)

starting with s,S,Sh,h. Examples, sra,shra,hla,sya,sva,Sca. In a joint letter,

the start is a base letter like s,S,Sh,h after completing m sounding (gm),

30


it would be difficult to combine them. So (gg) is a unique sound to

smoothen the flow of the rule applied for (gm).

(gg) is aÉç + aÉç= (aaÉç). Printed in the books as ò, òè with or without the tail.


books/Vakhyam

Rule

T.S. 1.2.14.1

iÉmÉÔþÇwrÉalÉå eÉÑýÀûÉþmÉiÉÇýaÉÉ Note :The word is

tapUMShi which is

represented as

tapU(gm)Shi as per

grammar.

த�� †%ய$3ேன

ஜு …!வா

Ze¢—Irõ¥²

R¡–tûx—

iÉmÉÔòþwrÉalÉå eÉÑýÀûÉþmÉiÉÇaÉÉ

த�ò †%ய$3ேன

ஜு …!வா

Ze¢ò—rõ¥²

R¡–tûx—

anuswAram before joint

letter starting with wÉ,

ஷ, r With Shi +agnE, it

becomes ShyagnE.

(Vowel Sandhi)

AÉmÉýzzÉÇxrÉÉåýlÉÉ pÉþuÉliÉÑ AÉmÉýzzÉòxrÉÉåýlÉÉ pÉþuÉliÉÑ anuswAram before a

joint letter starting with

31


ஆப ….ஶ�

�ேயா …னா ப †4வ��

Be–qüI ¥sõx–dx

h—pÇ¡

ஆப ….ஶò �ேயா …னா

ப †4வ��

Be–qüò ¥sõx–dx

h—pÇ¡

xÉ, ஸ, s

qÉÉýiÉUýÇ Í´ÉrÉÇþ

மா …தர…� .-ய †�

ix–Zk–I öqyjI

qÉÉýiÉUýòý Í´ÉrÉÇþ

மா …தர…ò .-ய †�

ix–Zk–ò– öqyjI

anuswAram before

a joint letter starting

with zÉ, ஶ , q

mÉÑþÂWÕûýiÉÍqÉlSìþÇ xuÉýÎxiÉ

�†3ஹூ …தமி��ர†�

�வ…�தி

mÉÑþÂWÕûýiÉÍqÉlSìòþ xuÉýÎxiÉ

�†3ஹூ …தமி��ரò †

�வ …�தி

anuswAram before

a joint letter starting

with xÉ, ஸ, s

32


e¡—k¡t¢–ZiyöÉI—

sû–sëy

e¡—k¡t¢–ZiyöÉò—

sû–sëy

4.5 Application of (gm) or (gg) –with lighter Stress

Some books follow the convention of having a single shape like ñè , ñ where

the stress on (gg) is light. The rule here is when the anuswAram is a long letter, the (gm) or (gg) becomes (g).

We follow only one convention of indicating ‘ò’. As per our guide, the light (g) is not used in classical books or Grantha Sources. According to our Guide, the (gm) and (gg) have one mantra and not half. But while rendering Veda Mantras, the stress on (gg) becomes lighter when it is preceded by a long vowel sound like aa, ee, uu and becomes stronger when the preceding letter is short and specially mahaprAna letters. Explanation by one Guru: When (gm) is followed by a Conjunct Cosonant, you cannot recite four halants’ effect g,m, two halants of the following Conjuct Consonant, (gg) from the centre of the throat normalises that to ineffect of saying three. When a long letter is uttered and you try to give full effect to (gg) there is a slight distortion or perhaps strain so (gg) is lightened with same maatra time scale. Kindly follow the style of you Guru but your recital must be stress free and free flowing after initial practice. We are giving some examples for readers to observe this sound effect:

mÉýzÉÔòxiÉÉò¶Éþ¢åü uÉÉrÉýurÉÉlÉçþ

ப …ஶூò�தாò.ச †$ேர வாய …4யா9

The (gg) is sandwitched

between a long letter SU and

followed by Consonant sthA.

The effect on (gg) will naturally

be lighter.

33


e–q¢òsëxòÒ—¥öK pxj–põx©— |

iÉmÉÔòþwrÉalÉå eÉÑýÀûÉþmÉiÉÇý

த�ò †%ய$3ேன ஜு …!வா †

Ze¢ò—rõ¥² R¡–tûx—

The (gg) is sandwitched

between a long letter pU and

followed by Consonant Shya.

The effect on (gg) will naturally

be lighter.

zrÉåýlÉÉå aÉ×kÉëÉþhÉÉýòý xuÉÍkÉþÌiÉý uÉïlÉÉþlÉÉýóèý xÉÉåqÉþÈ

.ேய …ேனா $3��4ரா †ணா …ò…

�வதி †4தி …. வனா†னா …óè ேஸாம†:

¥qõ–¥dx M£öcx—Yx–ò– sûcy—Zy–ª

pdx—dx–óè– ¥sxi—J

Similar to above. After nA(gm)

the following letter is sO; you

cannot stress (gm) it will be

lighter with (g) being prominent.

So many students from formal

pAtashalaas recite this as (g)

only. Remember maatra is not

shorter.

AÉmÉýzzÉòxrÉÉåýlÉÉ pÉþuÉliÉÑ

ஆப ….ஶò �ேயா …னா ப †4வ��

Here (gg) follows a short letter

giving time to stress the (gg)

without strain. (gg) is fully heard.

34


Be–qüò ¥sõx–dx h—pÇ¡

mÉÑþÂWÕûýiÉÍqÉlSìòþ xuÉýÎxiÉ

�†3ஹூ …தமி��ரò † �வ…�தி

e¡—k¡t¢–ZiyöÉò— sû–sëy

(gg) follows a short letter dra

and (gg) being swaritam, the

(gg) gets full effect and firmer.

Special Note: The representation of gm and gg is not differentiated in some classical books compiled in the past. The Student is expected to learn the rendering from the Guru. Even in recent compilations, there is slight difference is usage of gm in place of gg of vice versa in books based the schools, sound effect and also application of higher levels of Grammar rules from classical texts. This is covered in Section 7. The Learners are requested to refer such differences with the Guru and follow the teachings as per that School. We have made only a standard representation.

4.6 Swaram rules or acquisition by gm and gg

The following rules apply for the swaram for gm and gg

1. There is no Dheerga Swaritam for gm and gg

2. If an anuswarAm is marked with Swaritam, the Swaritam will be taken over

by the gm or gg; the first letter preceding gm or gg cannot be a Swaritam.

35


Examples:

mÉÑþÂWÕûýiÉÍqÉlSìþÇ xuÉýÎxiÉ shall become mÉÑþÂWÕûýiÉÍqÉlSòþ xuÉýÎxiÉ

�†3ஹூ …தமி��ர†� �வ …�தி shall become

�†3ஹூ …தமி��ரò † �வ…�தி

e¡—k¡t¢–ZiyöÉI— sû–sëy shall become

e¡—k¡t¢–ZiyöÉò— sû–sëy

Note: In old books or classical texts combined by Scholars, the Swaritam is

marked on the letter before ‘m’. e.g dra in the above example.

But swaram is applied on the (gg) sound/akshara only.

3. If the anuswAram is marked with anudAtta, both the letters (base letter

plus ‘m’ which becomes gm or gg) shall follow the anudAtta Swara only.

That is if the previous letter is an anudAtta, the gm and gg will acquire the

same, since it is an extension.

Examples:

uÉÉqÉþuÉÉýóèý CpÉåþ lÉ ,

zrÉåýlÉÉå aÉ×kÉëÉþhÉÉýòý xuÉÍkÉþÌiÉý uÉïlÉÉþlÉÉýóèý xÉÉåqÉþÈ

36


lÉqÉÉåþ uÉÈ ÌMüËUýMåüprÉÉåþ SåýuÉÉlÉÉýóèý ™SþrÉåprÉÉ

வாம †வா …óè… இேப †4 ந ,

.ேய…ேனா $3��4ரா †ணா …ò… �வதி †4தி …. வனா†னா …óè ேஸாம†:

நேமா † வ: கி-…ேக 4ேயா† ேத…3வானா …óè… !�த †3ேய 4ேயா £

pxi—px–óè– C¥h— d.

¥qõ–¥dx M£öcx—Yx–ò– sûcy—Zy–ª pdx—dx–óè– ¥sxi—J

d¥ix— pJ Kyky–¥K¥hõx— ¥b–pxdx–óè– t£b—¥j¥hõx–

Note: Some Readers may get a doubt why it is not Devanaa(gg)

hRudayebhyo. Specially highlighted in Green. ‘hRu’ is a Swarayukta

Akshara (Consonant) a combination of h + Ru (a vowel) and

it is not a Samyukta Akshara (Conjuct Consonant) formed by more than

two consonants

Wèû + G (vowel) = ™ ; ! ¢+ 3 = !3 ; ഹ+് E = t£ ;

37


4.7 Rendering of ‘gm’ and ‘gg’ from Other Veda Schools

The Vakyam from other Vedas like RuK, Sama and Atharva have been

incorporated or compiled into Yajur Veda Samhita. In these cases, ‘gm’ and ‘gg’

are used as a part of Yajur Vedic style of rendering of these mantras.

Let us see Sree Suktam as an example which follows Rig Veda Style of

rendering, which has no ‘gm’ or ‘gg’ .

ÌWûUþhrÉuÉhÉÉïÇý WûËUþhÉÏÇ xÉÑuÉýhÉï UþeÉiÉýxÉëeÉÉÇ | cÉýlSìÉýÇ ÌWûýUhqÉþrÉÏÇ sÉý¤qÉÏýÇ eÉÉýiÉuÉåþSÉå qÉý AÉuÉþWû ||

aÉýlkÉý²ÉýUÉÇ SÒþUÉkÉýwÉÉïÇý ÌlÉýirÉmÉÑþ¹ÉÇ MüUÏýÌwÉhÉÏÿÇ | DýµÉUÏÇÿ (or DýµÉUÏóèþ) xÉuÉïþ pÉÔiÉÉýlÉÉÇý iÉÉÍqÉýWûÉåmÉþÀûrÉåý Í´ÉrÉþÇ ||

ஹிர †�யவணா …� ஹ-†ண�� ஸுவ …ண-ர †ஜத …�ரஜா� |

ச…��3ரா …� ஹி …ர�ம †யM� ல …@மN …� ஜா …தேவ †ேதா3 ம … ஆவ†ஹ || க…3�த…4�3வா …ரா� � †3ராத …4.ஷா …� நி …�ய�†%டா� கO …ஷிண �‡� |

ஈ ….வO ‡� (ஈ ….வOóè) ஸவ †�4தா …னா …� தாமி …ேஹாப † !வேய … .-ய †� || 9

tyk—YõpªYxI– tky—YzI s¡p–ªY k—RZ–ösRxI | P–öÉx–I ty–k¿—jzI m–±§iz–I Rx–Z¥p—¥bx i– Bp—t || M–Ê–bûx–kxI b¡—kxc–ªrxI– dy–Zõe¡—ræxI Kkz–ryYz˜I |

38


C¦–qûkz˜I (or C¦–qûkzóè—) sªp—h¢Zx–dxI– Zxiy–¥txe—tû¥j– öqyj—I || 9

There is no ‘gm’ or ‘gg’ used in Rig Veda after the varNaam, Chandraam

(anuswAram) which are followed by ‘ha’. However, the mantra ‘Gandhadvaaraam

duraadharshaam” is available in NarayanOpanishad in Yajur Veda text.

Therefore it has become a common practice to render this mantra with

‘gm’ by Yajur Veda students and ‘gm’ is used in many books and followed in

recital as well. Some Gurus state that while reciting mantras in Krishna Yajur

Veda, the style of Krishna Yajur Veda shall be followed.

39


5 Special Vedic recital Rules

5.1 Extension of ‘r’ ( Uç., �, ª) or SwaraBhakti

Reference: Jata DarpaNam (Rule 62 – 75)

When the letter Uç, , ª is followed by letters of class (xÉ , ú , s ),

(wÉ, ஷ, r), (zÉ, Ÿ q), (W, ý t) or (G , ¼, E ),

as a rule the ‘r’ is extended to double its maatra value to one...instead of half..

Here we take ‘r’ together with these letters the distinction of the sound is

sometimes lost. The sound of ‘r’ becomes ‘ru’.

Some schools recite this ‘r’ as if it is a ‘ru’ which is not advisable.

Some of the Veda Teachers we have been referring have clearly guided us

saying “this should sound only like an extension of ‘r’ and the sound of ‘ru’

should be avoided during recital.” This extension of ‘r’ is recognized in classical

text like Pratishakyam. as a distinct letter termed as Swarabakthi.

This is a combination of ‘r’+’R’. So this is treated more as a Swarayukta

Aksharam.

Other Schools of Veda Teachers want the student to give a pause without

extending the ‘r’ so that the distinction of the sound is maintained during recital.

Kindly follow the method taught by your Guru but be open to change your style to

during recital in a group if the “Lead Chanter” recites with another alternative.

In SikSha material that we have referred so far, they insist not to give

pause(avasAna) after Swarabhakti.

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Representation in Books is different. It is normally printed with the ‘r’ over the

following letter like ha, Sa, Sha. Some authors/books make it distinct by printing

the ‘r’ Uç, separately in Sanskrit.

In Tamil and Malayalam books, the ‘, ª’is always printed and represented

separately based on system of letters.

Some areas of examples are given below:

Examples Comments

pÉÉ–ÌaÉlÉóèþ xÉ–liÉqÉjÉÉþ pÉÉ–aÉÇ ÍcÉMüÐþUç.wÉÌiÉ

பா …4கி3னóè† ஸ…�தமதா†2 பா …4க3� சிகீ †.ஷதி

hx–Mydóè— s–Çiax— hx–MI PyKz—ª.rZy

Swarabhakti of ‘r’ before

‘Sha’

iÉålÉ– MüÉåþÅUç.WûÌiÉ– xmÉÎ®ïþiÉÑÇ

ேதன … ேகா†Å.ஹதி … �ப�3தி †4�� |¢

¥Zd– ¥Kx—„ª.tZy– sðªÆy—Z¡I


‘ha’

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xÉ–WûxÉëþzÉÏUç.wÉÉ– mÉÑÂþwÉÈ

ஸ …ஹ�ர †ஶீ.ஷா … �3 †ஷ:

s–tös—qzª.rx– e¡k¡—rJ


‘Sha’

lÉqÉÉåþ SåÌuÉ ÌlÉUç.GiÉå– iÉÑprÉþqÉxiÉÑ

நேமா † ேத3வ� நி.�ேத … � 4ய †ம�� d¥ix— ¥bpy dyª.E¥Z– Z¡hõ—isë¡


‘Ru’

Note: We have started using a (dot) ‘.’ after ‘r’ in all our recent

compilations. We are also trying to upgrade this convention in all our

earlier compilations.

5.2 Extension of ‘l’ ( Uç., �, ª) or SwaraBhakti

Rule 63 states that ‘l’ that comes before ‘Sa’ and ‘ha’ is Swarabhakti.

Examples TS 1.1.2.1 Sataval.Sam | TS 2.1.2.4 mal.hAH |

TS 1.1.2.1

zÉ–iÉuÉþsÉç.zÉ–Ç ÆÌuÉ UÉåþW, xÉ–WûxÉëþuÉsÉç.zÉÉ– ஶ…தவ†7.ஶ…� Æவ� ேரா†ஹ

ஸ …ஹ�ர †வ7.ஶா …

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q–Zp—«.q–I Æpy ¥kx—t s–tös—p«.qx–

TS 2.1.2.4

L–iÉÉ qÉ––sÉç–.WûÉ AÉ sÉþpÉåiÉÉ ஏ …தா ம …7….ஹா ஆ ல †ேப4தா G–Zx i–m§–.tx B m—¥hZx

Rule 64 says that it is not SwaraBhakti when rIriShan, rIriShO, Na before

akArisham comes. The repha varNam ‘ri’ coming before Ushman needs to be

uttered normally without swarabhati effect.

Examples - prajA(gm) rIriShan mota vIrAn | rIriSho mota vIrAn |

mRutyu sUktam - TA 3.15.1 qÉÉlÉþÈ mÉë–eÉÉóè UÏþËUwÉÉå– qÉÉåiÉuÉÏ–UÉlÉç | மான†: ர…ஜாóè O †-ேஷா … ேமாதவ �…ரா9 | ixd—J öe –Rxóè kz—ky¥rx– ¥ixZpz–kx© |

The ‘ri’ has to be recital along with ShO without any special rule normally

Nakshatra sUktam – ArdhrA TB 3.1.1

qÉÉ lÉÈþ mÉë–eÉÉóè UÏþËUwÉ–lÉç qÉÉåiÉ uÉÏ –UélÉç மா ந †: ர …ஜாóè O †-ஷ …9 ேமாத வ �…ரா9 |

ix d—J öe –Rxóè kz—kyr–© ¥ixZ pz–kx©

Similar to above example

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Also not when N comes after, like in (TS 1.5.11.4) dadhikrAvNNo akAriSham |

S–ÍkÉ–¢üÉuÉç.hhÉÉåþ AMüÉËUwÉÇ ÎeÉ–whÉÉåUµÉþxrÉ uÉÉ–ÎeÉlÉþÈ || த …3தி …4$ரா4.�ேணா † அகா-ஷ� ஜி …%ேணா

ர.வ †�ய வா …ஜின†: |

b–cy–öKxp§¥Yêx— AKxkyrI Ry –¥rêxkqû—sõ px–Ryd—J ||

Though SikSha does not recognise it as Swarabakti; This needs to be noted as an area that there has to be a distinct pause before uttering NNO. Else it is heard as vaNNo which is not correct. Kindly read Section 5.4 on pause while rendering

Rule 65 – Also gives words which does not becomes swarbhakti with ru sound. Examples given in reference books are - svAruhamevainAm | svAruhA yasya | agnirvA aruShaH 4.1.3.4 | aruShaM miyedhya 4.1.3.4 | madhyamaruhat 4.7.13.3 | dIkShAmaruham |

TS 4.1.3.4

ÌuÉ kÉÔ–qÉqÉþalÉå AÂ–wÉÇ ÍqÉþrÉåSèkrÉ வ� ? …4மம †$3ேன அ3 …ஷ� மி †ேய�3�4ய

py c¢–ii—¥² Ak¡–rI iy—¥jÆõ

TS 4.1.3.4

ÌWû–iÉÉå ÌWû–iÉåwuÉþÂ–wÉÉå uÉlÉåþwÉÑ | ஹி …ேதா ஹி …ேத%வ†3…ேஷா வேன†ஷு |

ty–¥Zx ty –¥Zrû—k¡–¥rx p¥d—r¡ |

TS 4.7.13.3

AÉ uÉÉ–cÉÉå qÉSèkrÉþ-qÉÂWûSè-pÉÑU –hrÉÑU –rÉ

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ஆ வா …ேசா ம�3�4ய †-ம3ஹ�3-

�4ர …�"ர …ய-ம …$3ன/:

B px–¥Px iÆõ—-ik¡tb§-h¡k–Yõ¡k–j

Rule 68 – The Swarabhakti that comes after swaritam becomes pracaya. Note the following rules also. Rule 69 - The Dheerga Swaritam that forms before Swarabhakti remain only swaritam. The Swarabhakti could be an integral part of a word/padam or it gets formed due to Sandhi. But this section says that the Swarabhakti that comes after a dheerga letter as a part of the padam or word will get swaritam effect. If the letter before Swarabhakti is anudAttam, then the effect of the anudAttam is also on the Swarabhakti.

TS 2.5.7.5

pÉëÉiÉ×þurÉÇ MÑüÂiÉ– GwÉåUþç.GwÉå–uÉÉï L–iÉÉ 4ரா�� †4யT->3த … �ேஷ †.�ேஷ …வா ஏ …தா öhxZ£—põI K¡k¡Z– E¥rª—. E¥r–ªpx G–Zx

Here RuShEr.Rusher is one padam with Swarabhakti being the integral part of the Padam. ‘She’ is dheergam so the Swarabhakti ‘r’ is marked in Swaritam in professional publications.

TS 4.3.13.6

SÉå–wÉÉ uÉxiÉÉåUçþ. Wû –ÌuÉwqÉþiÉÏ ேதா …3ஷா வ�ேதா†.ஹ…வ�%ம†த� ¥bx–rx p¥sëxª—. t–pyrô—Zz

stO in padam vastoH is swaritam. Now visargam is r and since ha follows it becomes swarabhakti, the swaritam effect moves to ‘r’.

45


TS 2.1.2.4

xÉóèþÌWû–iÉÉqÉæ–lSìÏò µÉå–iÉÉÇ oÉÉþUç.WûxmÉ–irÉÉÇ ஸóè†ஹி …தாைம …��3Oò

.ேவ …தா� பா †3.ஹ�ப …�யா�

ty–Zx¤¤i–öÉzò ¥qû–ZxI gx—ª.tsð–ZõxI

Here Swarbhakti r. is integral part of the Padam bAr.haspatyam.The bA here is not a swaritam. Due to Swara rule, bA a long letter acquires swaritam but its effect will not be on Swarabhakti. By rule 68 render it like pracaya (ekasruti)

TS 1.3.14.1

A–ÎalÉUç.WûÉåiÉÉ– ÌlÉ wÉþxÉÉSÉ– அ…$3ன/.ேஹாதா … நி ஷ†ஸாதா…3 A–²yª.¥txZx– dy r—sxbx–

Here Swarabhakti is formed due to Sandhi of agniH + hOtA which becomes agnir.hotA (visargam becomes r and because of following h becomes Swarabhakti)

TS 4.6.2.1

eÉÑÀû–SØÌwÉ–Uç–.WûÉåiÉÉ rÉ§Éþ xÉmiÉ–Uç–.wÉÏlÉç mÉ–U ஜு!வ …�3�ஷி …….ேஹாதா † ய�ர† ஸ த…….ஷ�9-ப …ர R¡tû –b£ry–ª–. ¥txZx— jöZ— seë–ª–.rz© e –k

The Padam here for first example is juhvat+RuShiH+hOta. Due to Sandhi t of juhat becomes ‘d’ in combination with Ru becomes dRu and visaragam of SiH becomes ‘r’. Swarabhakti gets formed due to following hO. Second Example Sapta+RuShIn, the R becomes r becomes and because of following ShI it is represented as Swarabhakti. In both examples the r. is also marked in anudAttam since the previous letter has anudAttam.

46


Rule 70 – When the swarabhakti forms after a short letter, the effect of swaritam will be on that short letter before swarabhakti even if it is swaritam as per Padam. In this case, the swarabhakti is recited as anudAtta swara.

TS 1.6.12.2

GÌwÉþUç.Wû SÏbÉï–´ÉÑ¨ÉþqÉ– 3ஷி †.ஹ த�3க…4.3�த†ம … Ery—ª.t bzªN–öq¡À—i–

The padam here is RuShiH with swaritam on Shi. The visargam is ‘r’ so before following ‘ha’ it becomes swarabhakti. Since Shi is hrasva (short) letter; it will retain the swaritam and the following ‘swrabhakti –r.’ shall be recited in anudAttam.

Note: VedaVMS books are being upgraded to represent the Swarkabhakti more appropriately,where a swaritam appears on the dheerga letter instead of swarabhakti, specially in Tamil.

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5.3 Extension of Halants at the end of the Statement:

A complete word can end with anyone of the following Consonant Halants as per

Sanskrit Grammar

क्, �, त्, प,् �, न,् म,् ल.् �, , �, �, �, �, �, �.

K§, U§, Z§, e§, O§, d§, i§, m§ The maatra of a Halant is half. At the end of the statement, the word or padam

ends with the Halant, it is extended for increased rhyme effect during Veda recital

as a convention. If the Halant letter is pronounced normally with half time scale

(maatra) it tends to look abrupt.

Examples of statements ending with Halants:

Example Comments

xÉuÉïiÉÉå qÉÉÇ mÉÉÌW mÉÉÌWûþ xÉqÉýliÉÉiÉç

ஸவேதா மா� பாஹி பாஹி † ஸம …�தா�

sªp¥ZxixI extyexty— si–ÇxZ§

The extension holds

good even if the last

padam does not have a

swaram.

mÉëcÉÉåýSrÉÉÿiÉç , ரேசா …த3யா‡� , öe¥Px–bjx˜Z§

mÉëpÉÑÈ mÉëÏhÉÉÌiÉþ ÌuÉµÉýpÉÑMçü Extension example for

‘k’

48


ர�4: Oணாதி † வ�.வ …�4$

öeh¡J öezYxZy— pyqû–h¡K§

mÉëýeÉÉóè UÏþËUwÉÉåý qÉÉåiÉ uÉÏýUÉlÉç

ர…ஜாóè O †-ேஷா … ேமாதவ �…ரா9

öe–Rxóè kz—ky¥rx– ¥ixZ pz–kx©

Extension example for

‘n’

xÉÉåÅ¤ÉþUÈ mÉUýqÉÈ xuÉýUÉOèû

ேஸாÅ, †ர: பர …ம� �வ …ராG

¥sx„±—kJ ek–iJ sû–kxU§


‘T’

AÉåeÉþxuÉÉlÉç ÌuÉýµÉiÉþÈ mÉëýirÉXèû

ஓஜ †�வா9. வ� ….வத †: ர…�யT

HxR—sûx© py–qûZ—J öe–ZõO§


‘ng’.

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5.3.1 Special note on ‘n’ at the end of the Statement:

The ‘n’ (lÉç, ù¢,©) at the end of a statement is extended and most of the books

mark the same with the extension in terms of indicating ‘nn’.

Some books do not print ending ‘n’ as ‘nn’ and the readers follow

their School of teaching.

Let us take some examples of statements ending with ‘n’ and see how it is

represented. Please note that this seems to be a distinct method used in the

southern part of India. Kindly follow the method taught by your Guru but be open

to make minor adjustment when you perform group recital with other Schools.

We have started to standardise the representation of ‘n’ in our books to ‘nn’ after

Short vowel sound as a convention and this would take some more time as we

update each and every book periodically.

Example Comments

eÉÉýÍqÉqÉeÉÉþÍqÉÇý mÉëqÉ×þhÉÏÌWûý zÉ§ÉÔlÉçþ

ஜா …மிமஜா †மி …� ர�� †ண�ஹி … ஶ�K9 †

Rx–iyiRx—iyI– öei£—Yzty– qöZ¢©—

The ‘n’ at the end of the

statement is preceded

by a Dheerga Akshara

which has swaritam

(higher note). To

smoothen ending and

flow of the statement,

the swaritam effect is

given to ‘n’. Traditional

books mark the

50


swaritam over the ‘trU’.

mÉëhÉÏÿirÉ zrÉÉqÉý uÉÉeÉÉlÉçþ

�தவ … ரண �‡�ய .யாம … வாஜா9† öeYz˜Zõ qõxi– pxRx©—

Same as above effect of

the swaritam over ‘jA’ is

effected over ‘n’.

mÉÉ§ÉåþwÉÑý ÌmÉoÉþiÉÉåý eÉlÉÉlÉçþ

பா�ேர†ஷு … ப�ப †3ேதா … ஜனா9†

ex¥öZ—r¡– eyg—¥Zx– Rdx©—

Same as above.

UjÉåýlÉÉ ÅSåýuÉÉå rÉÉþÌiÉý pÉÑuÉþlÉÉ ÌuÉýmÉzrÉ³Éççþ

ரேத …2னா Åேத …3ேவா யா †தி … �4வ †னா

வ� …ப.ய99 †

k¥a–dx „¥b–¥px jx—Zy– h¡p—dx py–eqõ©—

Same as above. The

Traditional swarm

marking is over ‘Sya’

and the effect is given to

‘n’

qÉÉlÉþÈ mÉëýeÉÉóè UÏþËUwÉÉåý qÉÉåiÉuÉÏýUÉlÉç No Swaram before ‘n’

and ‘n’ is just extended

to one maatra

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மான†: ர…ஜாóè O †-ேஷா … ேமாத வ �…ரா9

ixd—J öe–Rxóè kz—ky¥rx– ¥ixZpz–kx©

ÌuÉµÉÉþ ÃýmÉÉhrÉÉþ ÌuÉýzÉ³Éç

வ�.வா† K …பா�யா† வ�…ஶ99

pyqûx— k¢–exYõx— py–q¨

No swaram before ‘n’

and ‘n’ is extended.

MüýÌiÉýkÉÉ urÉþMüsmÉrÉ³Éç

க…தி …தா4 4ய †க7பய99

K–Zy–cx põ—KmðjË§



CýqÉ³ÉÉåþ rÉý¥É³ÉþrÉiÉÑ mÉëeÉÉýlÉ³Éç

இ…ம9ேனா † ய…�ஞ9ன†ய� ரஜா …ன99

C–i¥Ëx— j–¹Ë—jZ¡ öeRx–d©



mÉëÌuÉwhÉÑþUxiÉÑ iÉýuÉxÉýxiÉuÉÏþrÉÉlÉç No swaram before ‘n’


52


ரவ�%V †ர�� த …வஸ… �தவ �†யா9

öepyrê¡—ksë¡ Z–ps– sëpz—jx©

Note: During continuous rendering, if a letter before ‘n’ is marked in Swaritam,

the Swaritam effect is given on the letter before this ‘n’.

Please note the Dheerga Swaritam effect discussed in our article about short

letters acquiring Dheera Swaritam after a short vowel like tasminth sarvam

pratishtitham, tasminth suparNo madhukrith kulaaye.

5.4 Extension of Vowel Sound/Visargam at the end of the

Statement:

In classical method of rendering, the end hrasva akshara/short letter with vowel

sound and visargam is extended to twice its maatra to keep a good rhyming

effect at the end. If you listen to Vedic rendering by Scholars, you will observe

that the end akshara is extended by them. Generally when grahastas learn Veda,

this aspect of elongation is not well stressed but by practice this aspect should be

paid attention and rendered effectively as advised by a Vedic Scholar.

Some examples are given below for readers to observe the rendering by

Scholars. Most recent one (as of August 2020) is rendering available in Tirumala

Tirupati Devasthanam Channel (You Tube) Veda PaaraayaNam that started in

April 2020.

Kindly follow the method taught by your Guru but while rendering with different

School or Vedic pandits one needs to be aware of this practice to be in right

synchronisation with them.

53


Example Comments

rÉ L–uÉÇ ÇÆuÉåSþ |

ய ஏ …வ� Æேவத†3 |

j G–pI Æ¥pb— |

Here the vowel sound ‘a’ of veda is

extended but without rendering it

as with the effect as ‘A’. It is heard

as a being extended as hrasvam

iÉrÉÉþ lÉÉå ÂSì qÉ×QûrÉ |

தயா† ேநா 3�3ர ��ட3ய |

¥dx k¡öb i£Wj |

Similar to above example.

Extension is made as ya..a without

being heard as ‘yA’.

ÍzÉ–uÉÉå lÉþÈ xÉÑ–qÉlÉÉþ pÉuÉ |

ஶி …ேவா ந †: ஸு…மனா † ப4வ |

qy–¥px d—J s¡ –idx— hp |

Similar to above example.

Extension is made as ya..a without

being heard as ‘vA’.

ÌaÉËU–zÉÉcNûÉþ uÉSÉqÉÍxÉ |

கி3-…ஶாWசா† வதா3மஸி |

The extension of ‘e’ sound of si is

made in such a way it is not heard

or stressed as sI

54


Myky –qxPâx— pbxisy |

E–iÉÉå iÉ– CwÉþuÉå– lÉqÉþÈ |

உ…ேதா த … இஷ†ேவ … நம†: |

D–¥Zx Z– Cr—¥p– di—J |

When a visargam sound comes in

the extension is made of the vowel

sound that comes with visargam

WûxiÉåþ oÉ–pÉÔuÉþ iÉå– kÉlÉÑþÈ |

ப …3�4வ † ேத … த4J†: |

g–h¢p— ¥Z– cd¡—J |

The visaram sound of uH is

extended.

AÉ–pÉÑUþxrÉ ÌlÉwÉ–…¡ûÍjÉþÈ |

ஆ …�4ர †�ய நிஷ…Tக3தி †2: |

B–h¡k—sõ dyr–O§May—J |

Visargam sound of iH is extended.

Note: Try to recite along with the audio/video with your normal practice/method of

rendering; you will see that the extension by Scholars is distinct.

55


5.5 Extension of Dheerga Letters to Plutam at the end of the

Statement:

A long letter/Dheerga akshara is rendered as a Plutam with vowel sound being

extended to three maatra time scale at the end of the statement.

This may not be highly stressed as a practice for new learners or householders.

Kindly follow the method taught by your Guru but while rendering with different

School or Vedic pandits one needs to be aware to be in right synchronisation

with them. We give some examples for Veda learners to observe this aspect of

Veda rendering practice.

Example Comments

qÉ×–irÉuÉå– xuÉÉWûÉþ qÉ×–irÉuÉå– xuÉÉWûÉÿ ||

�� …�யேவ… �வாஹா † �� …�யேவ…

�வாஹா ‡ |

i£–Zõ¥p – sûxtx— i£–Zõ¥p– sûxtx˜ |

The ‘A’ vowel sound is

extended normally to three

maatraa in normal mode; an

additional minor extension is

made and not like rendering

plutam which is different.

xÉ pÉÔÍqÉþÇ ÆÌuÉ–µÉiÉÉåþ uÉ×–iuÉÉ |

ஸ �4மி †� Æவ� ….வேதா † 4� …�வா |

s h¢iy—I Æpy –qû¥Zx— p£–Zûx |

Here the ‘A’ sound is

extended.

56


mÉë–eÉÉmÉþiÉå UÉåÌWû–hÉÏ uÉåþiÉÑ– mÉ¦ÉÏÿ |

ர…ஜாப †ேத ேராஹி …ண� ேவ †� … ப�ன�‡ |

öe –Rxe—¥Z ¥kxty–Yz ¥p—Z¡ – eÙz˜ |

Though it has dheerga

swaritam additional

extension of ‘ee’ is made.

mÉÑ–lÉliÉÑþ qÉÉ SåuÉeÉ–lÉÉÈ |

� …ன�� † மா ேத3வஜ…னா: |

e¡ –dÇ¡— ix ¥bpR –dxJ |

Vowel sound ‘AH’ is

extended.

lÉÏsÉþaÉëÏuÉÉ– ÌuÉsÉÉåþÌWûiÉÉÈ |

ந�ல†$3Oவா … வ�ேலா †ஹிதா: |

dzm—öMzpx– py¥mx—tyZxJ |


Note: Try to recite along with the audio/video with your normal practice/method of

rendering; you will see that the extension by Scholars is distinct.

57


5.6 Areas to give pause when words cannot be taken together

When a word ends with ‘n’ and the next word follows with ‘vi’ ,ya, ra, ha, Ru ,

The words shall not be taken together since the sound effect becomes disturbed

as nya, nvi which may incorrectly indicate as if a Sandhi exists.

Some of these combinations are referred as Swaribhakti in SikShA texts.

But some Vedic Student referred this as Swara-Samgj~jyAi which needs

further reference. So please note the rendering of your Guru and style of your

School to render them correctly. Some common examples of rendering with a

pause or minor extension are given below:

These are indicative examples only.

Example Comments

iÉÉlÉç. rÉý¥ÉxrÉþ qÉÉýrÉrÉÉý xÉuÉÉïýlÉuÉþ rÉeÉÉqÉWåû

தா9. ய…�ஞ�ய † மா …யயா … ஸவா …னவ †

Zx©. j–¹sõ— ix–jjx– sªpx–dp—

jRxi¥t

Rendering together will make

one hear a single word as

tanya.

uÉýxÉÔlÉç. ÂSìÉþlÉÉ-ÌSýirÉÉýlÉç qÉÂiÉÉåþÅjÉ xÉÉýkrÉÉýlÉç

GpÉÔþlÉç rÉý¤ÉÉýlÉç

Some books may represent

‘n’ +’Ru’ as nRu. But words

are distinctly recited as a

practice. Generally if a halant

precedes Ru it is taken

together as a Swarayukta

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வ…ஸூ9 3�3ரா †னா-தி …3�யா …9

ம3ேதா†Åத2 ஸா …�4யா …9. �� †49.

ய,ா …9 ¢

p–s¢© k¡öbx—dx-by–Zõx–© ik¡¥Zx—„a sx–cõx–© Eh¢—© j–±x–©

akshara. Kindly follow the

style taught by your Guru.

uÉþWûliuÉåýlÉÉ UÉþeÉlÉç. WûýÌuÉwÉÉþ qÉÉSrÉxuÉ

வ†ஹ��ேவ…னா ரா †ஜ9. ஹ …வ�ஷா †

மாதய�வ p—t¥Çû–dx kx—R©. t–pyrx—

ixbjsû

‘n’ is followed by ‘ha’. Here ‘n’

is extended.

Some Schools recite this as

‘rajanu’ with full ‘u’ sound

which should be avoided. U

sound shall be only half since

ending with n would be little

abrupt.

AalÉåþ rÉzÉÎxuÉýlÉýç. rÉzÉþxÉ

அ$3ேன† யஶ�வ� …9 …. யஶ †ேஸ ……

A¥²— jqsûy–©–. jq—¥s–

Some books mark the lower

swarm for ‘n’ also to make a

distinction that ‘n’ should be a

clear end to the word.

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ÌuÉzÉ§ÉÔýlÉçý. ÌuÉqÉ×kÉÉåþlÉÑSý ÌuÉuÉ×ý§ÉxrÉý WûlÉÔþ ÂeÉ

வ�ஶ�K …9 …. வ��ேதா†4Jத …3

வ�4� …�ர�ய…

pyqöZ¢–©–. pyi£¥cx—d¡b– pyp£–

öZsõ– td¢— k¡R

Same as above. Here ‘n’ is

marked with an extension of

lower swarm of the ‘tru’

SÉýxrÉÉåÅµÉÉÿlÉç. ÌuÉýlSårÉÇý mÉÑÂþwÉÉlÉýWÇû

தா …3�ேயாÅ.வா ‡9. வ�…�ேத3ய …�

�3 †ஷான …ஹ�

bx–¥sõx„qûx˜©. py–¥ÉjI– e¡k¡—rxd–tI

When a Dheerga letter

precedes ‘n’ that should get

right extension. Now the ‘n’ is

extended so that nvi sound is

not heard. Some schools

recite this with swaritam and

extension of ‘n’ instead of sva

and this is not an ideal way

AWûÏòþ¶Éýý xÉuÉÉïÿlÉç eÉýÇpÉrÉýlÉç jxÉuÉÉïÿ¶É rÉÉiÉÑ

kÉÉýlrÉþÈ

A pause is given though the

‘n’ becomes ‘nj’ for clarity of

recital.

While reciting Rudra Kramam,

the vaa is not extended but ‘n’

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அஹ�ò †.ச … … ஸவா ‡9 -ஜ…�ப4ய …��2

Atzò —Ò–– sªpx˜© R–Ihj–©

a§sªpx˜Ò jxZ¡ cx–dõJ—

is recited with a higher note in

many part of Southern India

as

xÉuÉÉïlÉçþ , ஸவா9þ

sªpx©þ

ÆÌuÉzÉ§ÉÔÿlÉç. iÉÉÌQûý ÌuÉqÉ×kÉÉåþ lÉÑSxuÉ

Æவ�ஶ�K ‡�. தாX…3 வ��ேதா †4

Yத3�வ

ÆpyqöZ¢˜©. ZxXy– pyi£¥cx— d¡bsû

Pause after n so that it does

not sound like ‘nthA’

We have started to standardise the representation of of this pause through

a dot (.) after ‘n’ in our books. The ‘n’ will also be marked with anudAttam

(practice started from Jan 2020 while revising books). This updation would take

some more time as we take up each and every book periodically for review.

The Users/learners shall confirm to the extension or pause as taught by the Guru.

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5.7 Areas with no distinct/full sounds for letters

During Recital, due to the combination of letters, some letters do not get a

distinct sound. Vaikari means sound that emanates outside the mouth as

distinctly heard. There is no ‘Vaikari’ meaning that the sound does not

reverberate outside the throat; it stops at the throat. This is referred to as

‘Madhyama’. Kindly refer to Lalitha Sahasranama Bahsyam by

Great Scholar Shri Anna Subramania Iyer. (Sloka 81)

But in many South based Schools, they insist that the letter must be

uttered even faintly to be heard so that proper vibration is created.

5.7.1 Combinations of ‘n’,’th’

We give below indicative examples below. The student learns more of these

examples as the learning gradually increases.

Example Comments

iÉÎxqÉÿljxÉÑmÉýhÉÉåï qÉþkÉÑýM×üiÉç MÑüþsÉÉýrÉÏ

த�மி ‡��2-ஸுப…ேணா ம †� …4$��

> †லா …யM

Zsôy˜©a§ s¡e–ª¥Yx i—c¡–K£Z§

K¡—mx–jz

With the extension of ‘smi and

an extension of the same to ‘n’,

the sound of ‘th’ is not distinct

during recital. If the ‘th’ is

stressed and recited the recital

will not be smooth.

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MüÉqÉÉýljÉç-xÉqÉþSèkrÉïliÉÑ lÉÈ காமா …��2 ஸம †�3�4ய�� ந:

Kxix–©a§ si—ªÆõÇ¡ dJ

Here the ‘th’ does not emanate as a distinct sound; stops at throat only or will be heard as a whisper only

AýÎalÉUÉrÉÑþwqÉÉýljÉç xÉ uÉlÉýxmÉÌiÉþÍpÉý அ…$3ன/-ரா" †%மா …��2ஸ

வன …�பதி †ப� …4 A–²ykxj¡—rôx–©a§§ s pd–sðZy—hy–

Same as above.

pÉÌuÉýwrÉSè uÉwÉýOèû jxuÉÉWûÉý ப4வ� …%ய�3 வஷ …G�2 �வாஹா … hpy–rõb§ pr–U§ a§sûxtx–

Same as above. The sound of

‘th; will be faint only

aÉÉqÉµÉþÇ mÉÉåwÉÌrÉý¦uÉÉ xÉ lÉÉåþ qÉ×QûÉiÉÏý-¬ØzÉåÿ

கா3ம.வ †� ேபாஷய� …�9வா ஸ

ேநா† ��டா3த� …-�3�3�ேஶ

Mxiqû—I ¥exrjy–Ùûx s ¥dx—

Here the sound of ‘n’ that follows

‘th’ is light and it not distinct

during recital.

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i£Wx Zz–b£¥q˜ 5.7.2 The word ‘Ru’ after two halant letters:

CirÉ×iÉÑ qÉþhQûsÉÉýÌlÉ இ�13� ம †�ட

3லா …ன/

3

CZõ£Z¡ i—¾mx–dy

The combination of ‘t’,’y’ and RU

cannot be recited together smoothly.

So the ‘y’ sound is left out or becomes

half silent. It is rendered as iÉ×,�3,

Z£

5.8 Extension/Pause before Vowels

It is difficult to recital two vowel sounds next to each other. Due to nature of the

mantra, swaram and the intended sound/vibration effect, the Vowel Sandhi may

not be applied/(exempted) or due to application special grammar rules.

Kindly note that Pragraha words(words in duality) as specified in texts are not

subject to Sandhi. These words are represented with ‘iti’ in Pada Paatam.

They have long ‘ee’’uu’ .’ae’ or ‘O’ sounds.

Please read the Article on Vowel Sandhi that has been released separately.

This rule is more applicable/effective/pronounced when the ending letter or the

following Vowel letter is a Dheerga letter.

There are two methods that are taught to make the sound distinct.

1. One extend the sound of the previous letter faintly or

2. Pause before the Vowel is pronounced or recited.

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The Pause should not result in a break effect please. Observe your Guru to improve the recitation and the style of either extending or pausing. Some examples are given below:

Example Comments

mÉÉýrÉÑÌuÉïýzÉÉå AýxrÉÉ ASþokÉÈ

பா …"வ� …ேஶா அ…�யா அத†3 த4:

ex–j¡ªpy–¥qx A–sõx Ab—gîJ

Here ‘a’ of asyAH does not

form avagraha with visaH

which becomes viSo and the

Visarga in padam asyAH

drops before adabdhaH, so

needs to be recited distinctly.

xÉoÉÑýÎSèklÉrÉÉþ EmÉýýqÉÉ AþxrÉ ÌuÉýý¸ÉÈ

ஸ� …3�3�4ன/யா † உப …மா

அ†�ய வ� …%டா�

sg¡–Æ§dyjx— De––ix A—sõ py––rçxJ

The visargam in padam

upamAH has dropped before

asya and the recital has to be

distinct with a pause.

AÉÌSýirÉÉ AÉerÉÇþ eÉÑwÉÉýhÉÉ ÌuÉþrÉliÉÑý

ஆதி …3�யா ஆ�ய †� ஜுஷா …ணா வ�†ய��,

Bby–Zõx BRõI— R¡rx–Yx py—jÇ¡

Visargam in padam adiyAH

has dropped so pause

required before Ajyam.

65


mÉëÉxqÉÉý AÉzÉÉþ AzÉ××huÉ³Éç

ரா�மா … ஆஶா † அ.��வ99

öexsôx– Bqx— Aq£YûË§

Example similar to above.

qÉÉ lÉÉåý AµÉåþwÉÑ UÏËUwÉÈ

மா ேநா … அ.ேவ †ஷு O-ஷ:

ix ¥dx– A¥qû—r¡ kzkyrJ

naH becomes nO and

aSveShu does not form

avagraha here so needs

distinct rendering of words.

qÉbÉþuÉgNûýÎa® iÉuÉý iÉ³Éþ FýiÉrÉåý

மக†4வ(-ச …2$3�3தி4 தவ … த9ன† ஊ …தேய …

iN—pTâ–M§Æy Zp– ZË— D¦–Z¥j–

naH becomes na with

dropping of visargam before

vowel ‘U’ hence needs pause

between these words.

5.9 Halant “h” followed by Nasal Letters

When there is a Samyukta Akshara (Conjunct Consonant- Joint Letter) of “h’

followed by a letter of Nasal Class like ‘n,N, M’ , the ‘h’ is not distinctly recited;

the ‘h’ takes over the Halant sounds of the following Nasal Letter with which it is

formed. Simlar effect follows when ‘h’ is followed by ‘ya’ where ‘h’ sound tends

more towards ya sound.

66


Kindly note that the sound of ‘h; sound not be stressed too much like the

following Nasal class letter. ‘h’ comes from the base of the throat where

as the nasal letters sound reverberates from the front of the mouth.

So the pronunciation of these words take a middle path to make rendering

smoother.

Example Comments

oÉë¼þeÉ¥ÉÉýýlÉÇ mÉëþjÉýýqÉÇ 3ர!ம †ஜ�ஞா …ன� ர †த …2ம�

ögÖ—R¹x––dI öe—a––iI While recital the sound stress on ‘h’ should not become full m as be heard as bramma.

Wèû is followed by qÉ (nasal letter)

! is followed by ம (nasal

letter)

t§ is followed by i (nasal

letter).

Wèû, !, t§ takes the sound of

nasal letter qÉç , � , i§.

qÉSèkrÉåý A»ûÉÿÇ ம�3�4ேய … அ!னா ‡� i¥Æõ– AÕx˜I While recital the sound stress on ‘h’ should not become full n as be heard as annaam.

Here Wèû, ý¢, t§ takes the

sound of nasal letter lÉç,ù¢, d§

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ÅÎxiuÉirÉlÉÑþ aÉ×ºûýliÉÑ Å��வ��யJ† $3�!ண …�� „sëûyZõd¡— M£t§Y–Ç¡ While recital the sound stress on ‘h’ should not become full N as be heard as gRuNNanthu.

Here Wèû, ý¢, t§ takes the

sound of nasal letter hÉç,í¢,T§

TS 4.6.7.1

Ì§É–iÉÉå aÉÑ½åþlÉ uÉë–iÉålÉþ | �-…ேதா >3!ேய †ன 4ர …ேதன† | öZy–¥Zx M¡¥tõ—d öp–¥Zd— |

Here the stress on ‘h’ will not be

heavy and moderate towards

‘ya; sound but sound not fully

heard as guyyena.

Note: Students should observe their Guru to learn the right pronunciation for

combination of hva.hya, hla. In addition when we are new to learning,

we tend to make the mistake of pronouncing hru as hRu or hRu as hru.

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6 Overview Rendering flow and Pause

This Section gives an overview of how words/padams shall be rendered together

and how and when pause/extension is given. Kindly be aware that there are

differences between Schools in they way they take words together,

give pause or elongate an akshara based their System. A learner should

follow mainly the teachings of the Guru but become aware of some differences

so when one perfroms any recital in a common function, one is able

to make right adaptations.

Kindly refer to previous Section where some highlights have been discussed.

This area cannot be articulated exhaustively but we are making an honest

attempt so that Veda learners get some basic knowledge of the issues in

rendering. It is incorrect to think that other methods/Schools of rendering are

incorrect; you should have an open-mind set that keeps you improving gradually

and one should be open to learning/adapting even after years of Practice/Recital.

6.1 SamhitA and components

Samhita is a Sanskrit may be interpreted as “well arranged or ordered” The root words, sam means “correct” and “proper/well,” and hita means “arranged” or “wholesome.” Other dictionary meaning we get are junction or combination of letters according to defined grammar rules. (may be taken as Sandhi in common parlance) and any methodically arranged collection of texts or verses. One Scholar says that is an arrangement of letters at ardha-mAtra kaala (time scale as it takes a small time) between letters like a garland of flowers. The natural pause between uttering two letters is called Virama, though it is a term used for pause. But the avasana is used in SikShA as a reference to taking a break, rest or stoppage. We will use the word letter pause and giving additional time as pause so readers of the document get a consistent reference.

69


Let us look at the constituent of SamhitA which is collections of texts or we call it as Veda mantras.

1. Padam - it is the lowest form a SamhitA can be broken up. 2. Word - it can be same as a Padam or a constituent of two or more Padams

which gives a specific meaning. 3. Text – The word Text and Verse are used in classical books by Scholars.

The Text here we are interpreting as a combining of many words that combine due to various Grammar Rules.

4. Verse/Ruk – Here we mean a separate Vedic statement which ends in a Ruk stop.

5. Mantra – It is a combination of more than one Verse/Ruk that gives a logical and complete meaning of the verses/Ruks. This is subject to Rules of Chandas or Vedic Meters. A mantra may be sometimes, represented in a single Ruk.

6.2 Reference in prAtiSAkyam:

PS Chapter 22 Rule 13 - The verse-pause, pada-pause, pause for hiatus,

and pause for hiatus in the interior of a word, are respectively of

three moras, two moras, one mora, and a half-mora.

When we refer to some Articles, the word mora has been taken as same

as mAtrA, since the word mora is a very old and classical term.

The way ancient text classifies the pause and the way we have defined the

components of a SamhitA vary and it needs to be understood correctly

in terms of the guideline given in PS. There are interpretation differences

about pause when we read the Commentaries; so we have gone by practical

guidelines given by our Scholar Guides. There are differences in the

style Pause and extension of sounds are handled.

A learner should first become thorough with the way Guru teaches him.

The word ‘hiatus’ stands for the pause that is given between two vowels

so that the distinction of vowel sounds are retained.

We shall call it Vowel-pause for our understanding.

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PratiSAkyam makes a distinction between ‘hiatus’ (vowel pause) within

a word or padam and or between words/padams.

The following example is given to make the distinction clear to readers.

Example Comments

pÉÔÌrÉþ¸ÉÇ iÉå– lÉqÉþEÌ£Çü ÌuÉkÉåqÉ ||

�4ய� †%டா2�ேத … நம†உ$தி� Æவ�ேத4ம

h¢jy—rçxI ¥Z– di—D°yI py¥ci ||

Namauktim is a single padam

with a combination of namaH +

uktim; by rule visargam get

dropped; ‘a’ and ‘u’ rendered to

together will give incorrect

sound. So a pause is given in

the interior of the word

between ma and u.

´ÉþrÉiÉÑ– mÉë-EþaÉqÉÑ–YjÉqÉurÉþjÉrÉ –jÉç

.ர †ய�… ர-உ †க38…$த2ம4ய †த2ய…�2

öq—jZ¡– öe-D—Mi¡–K§aipõ—aj–a§

Pra+ugam is not subject to

Sandhi but a single padam; so a

pause is given between pra and

ugam so vowel sounds donot

combine. This a pause in the

interior of a word/padam.

lÉqÉþxiÉå ÂSì qÉ–lrÉuÉþ E–iÉÉå iÉ CwÉþuÉå–

நம†�ேத 3�3ர ம …9யவ † உ …ேதா

த … இஷ†ேவ…

The padam manyavE becomes

manyava before vowel sound u

of uto. These are two padams

so the pause is extended

between va and u distinguish

there is a Sandhi. This Vowel

pause between words is

longer than the pause within a

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di—¥së k¡öb i–dõp— D–¥Zx Z –

Cr—¥p–

word.

qÉå–kÉÉÇ qÉåþ A –ÍµÉlÉÉþ uÉÑ–pÉÉ-uÉÉkÉþ¨ÉÉÇ–

ேம…தா4� ேம † அ….வ�னா †-[…பா4வா-

த †4�தா …�

¥i–cxI ¥i— A–qûydx—-p¡ –hx-

pxc—ÀxI–

The padam is aSvinau +uBau

+AdhattAm. The au becomes A

with a ‘v’ combined with following

padam. So uBau become vuBau,

but this vuBau has ‘au’ at the

endwhich becomes ‘A’ before

following vowel A of Adhattam.

So there is a double word vowel

pauses in this mantra.

6.3 Common Approach:

The three things generally that shape up the rendering method/style

of a learner are:

1. The style in which your Guru teaches and his School of Learning

2. The book that you follow and how the book represents these issues

3. Additional effort you put in terms of listening to Audios/Videos of

Vedic Pandits, acquiring knowledge of each of these issues and

of course, the practice that makes it perfect.

Note: This is a continuous process; some aspects discussed below will

become clear as one reads our Articles on Visarga Sandhi, Vowel Sandhi,

Consonant Sandhi and Avagraha.

72


If a reader is new to learning Vedas, donot try to understand everything that is

articulated; become aware of the issues and use this as a guide to learn and

improve recital.

If the representation in the book that you follow takes words together but your

Guru teaches splitting the words or give pause you should kindly take note.

Same is the case when words are represented separately but needs to be

taken together. VedaVMS books represent words separately at many places

to indicate that words are separate or there is a need for pause.

But we are aligning words to match with Pada Paatam, on an on-going

basis so that rendering is easier, but under the guidance of a qualified Guru.

6.4 Words combinations:

The ending of any word could be with

1. A vowel sound like a,e,u,ae,ai, O, au etc (short or long)

2. A Visarga sound with either short or long letters

3. An anuswAram with short or long letters.

4. A halant ending like k,t,p,T,n,~g.

Endings with s or r at the end of the Padam in noun form become

Visargam.

Now let us discuss common occurrence of combinations of the ending

akshara/letter in a word by above types.

6.5 Ending is a Vowel sound:

A Vowel sound of a previous word is followed by first Vowel letter of the

following word, it is subject to Vowel Sandhi.

The Vowel Sandhi results in the following:

1. Combination of Vowels into a new letter with elongation

2. Formation of Avagraha

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3. The previous vowel and/or next letter sound becomes

a different vowel sound

4. Vowel Sandhi is not performed and words are taken distinctly

6.5.1 Combination of Vowels

Ref Article – Basics of Veda –Vowel Sandhi in Articles Page

Example Comments

pÉýSìÇ mÉþzrÉåqÉÉý¤ÉÍpÉ…rÉïeÉþ§ÉÉÈ

ப …4�3ர� ப †.ேயமா …,ப� …4

h–öbI e—¥qõix–±hy–ª jR—öZxJ

paSyema +akShaBi leads to

elongation as mA, it is customary

to give a small pause after mA

for Sandhi to indicate elongation.

ÌaÉËUýzÉÉcNûÉþ uÉSÉqÉÍxÉ

�வா … கி3- …ஶாWசா† வதா3மஸி

Zûx– Myky–qxPâx— pbxisy

giriSa+accA leads to elongation

of Sa as SA. Similar to above

example.

lÉqÉÉåþ ÌlÉcÉåýUuÉåþ mÉËUcÉýUÉrÉÉUþhrÉÉlÉÉÇý

நேமா † நிேச…ரேவ † ப-ச …ராயா-

ர†�யானா …� d¥ix— dy¥P–k¥p—

paricarAya+araNyAnAm leads to

elongation of yA.

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ekyP–kxjx-k—YõxdxI–

qÉÑZÉÉýÌSlSìþ-¶ÉÉýÎalÉ¶Éþ

8கா …2தி��ர†.-சா …$ன/.ச †

i¡Lx–byöÉ—-Òx–²yÒ— |

indraH + ca+ agniH+ca is the

combination. ‘ca’+agni gives

‘cAgni’.

qÉÌrÉþ mÉëýeÉÉÇ qÉrÉÏlSìþ CÎlSìýrÉÇ SþkÉÉiÉÑý

மய� † ர …ஜா� மயM��3ர † இ��3- …ய�

ijy— öe–RxI ijzöÉ— CöÉy–jI

b—cxZ¡–

Mayi+indra becomes mayIndra,

This is similar with a combination

of two short ‘i’ that becomes long

‘I’.

ÌSý¤ÉÔmÉSþkÉÉÌiÉ

தி …3,ூபத †3தா4தி

by–±¢eb—cxZy |

dikShu + upadadhAti – kShU

gets formed with a combination

of two short ‘u’s.

75


When we try to render without pause, the words combination does not sound

smoother. It is customary to indicate an occurrence of a Sandhi with a small

pause, without effect of a break.

6.5.2 Formation of Avagraha

Ref Article – Basics of Veda – Avagraha in Articles Page

Example Comments

iÉýlÉÔUbÉÉåýUÉÅmÉÉþmÉMüÉÍzÉlÉÏ

த …\ரேகா …4ரா Åபா†பகாஶின �

Z–d¢k¥Nx–kx „ex—eKxqydz

aGorA + apApakAsini, the ‘a’

following long ‘a’ becomes

avagraha, then this avagraha

takes half the vowel sound of

previous letter and normally a

pause is given; But a break

effect may occur and an

opposite meaning may be

intended. So Gurus want you to

give an extension to indicate

presence of ‘a’ without saying full

‘a’. Rendering avagraha correctly

improves through practice.

iÉrÉÉýÅxqÉÉlÉç ÌuÉýµÉiÉý

தயா …Å�மா9, வ�….வத …

Zjx–„sôx© py–qûZ–


combination of yA followed by ‘a’

of asmAn forms avagraha.

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xÉWûxÉërÉÉåeÉýlÉå ÅuÉýkÉluÉÉþÌlÉ

ஸஹ�ரேயாஜ…ேன Åவ …த49வா†ன/

stös¥jxR–¥d „p–cdûx—dy

Avagraha forms after ‘E’ sound

when followed by ‘a’.

lÉqÉÉåþÅmÉaÉÑýUqÉÉþhÉÉrÉ நேமா †Åப> …3ரமா †ணாய d¥ix—„eM¡–kix—Yxj

Avagraha forms after ‘O’ sound

when followed by ‘a’.

oÉë¼ÉþÅÅaÉýiÉ´ÉÏþ ÂýiÉiuÉrÉÉÿ

3ர!மா †ÅÅக…3த] † 3 …த �வயா ‡

ögÖx—„„M–Zöqz—

k¡–Z Zûjx˜

A double avagraha symbol ÅÅ represents a word ending ‘A long

vowel sound is followed by

letter A. Here brahmA+AgatasrI.

The pause will be longer.

77


6.5.3 Generation of different Vowel sound

Ref Article – Basics of Veda – Vowel Sandhi in Articles Page

Example Comments

uÉæýµÉýSåýuÉÏ mÉÑþlÉýiÉÏ SåýurÉÉaÉÉÿiÉç

ைவ ….வ …ேத…3வ � � †ன …த� ேத …34யாகா‡3�

¤¤p–qû–¥b–pz e¡—d–Zz

¥b–põxMx˜Z§

‘devi’+AgAt gives devyAgAt

due to sandhi of ‘i’ with ‘A’

A short is given to indicate

Sandhi.

mÉUqÉåý¸Ï ÌuÉýUÉeÉÉÿ

பரேம…%^2 வ� …ராஜா ‡‡

ek¥i–rçz py–kxRx˜

Parama+iShti results in

paramEShti. Combination of

ma+’i’ gives ‘mE’ (ae).

A small pause for Sandhi is

given.

oÉë¼æýuÉ pÉÔýiÉÉlÉÉýÇ erÉå̧ ýÇ

3ர!ைம …வ � …4தானா …� ¢

ög¤¤Ö–p h¢–Zxdx–I ¥Rõrç–I

An ‘ai’ sound is formed with a

combination of a+E (ae). Here

it is brahma+Eva resulting in

brahmaiva

78


ÌuÉcÉ¢üqÉÉýhÉ-x§ÉåýkÉÉåÂþaÉÉýrÉÈ ||

Æவ�ச$ரமா …ண-��ேர…ேதா43 †கா …3ய:

pyPöKix–Y-¥ösë–¥cxk¡—Mx–jJ

O sound is formed with a

combination of a+u. Here is is

tredha+urugAya forming dhO.

pÉÑuÉýliÉrÉåþ uÉÉËUuÉxM×üýiÉÉ-rÉÉæwÉþkÉÏlÉÉÇý

�4வ…�தேய† வா-வ�$� …தா-

ெயௗஷ†த�4னா …�

pxkypsÜ£–Zx-j¦r—czdxI

An ‘au’ is formed here with a

combination of ‘a’+’O’ .

kRutAya+OShadInAm

becomes kRutAauShadInAm

xÉýmiÉUç.wÉrÉÈ-xÉýmiÉkÉÉqÉþ ÌmÉëýrÉÉÍhÉþ

ஸ … த.ஷ†ய …:-ஸ ததா4ம†

s–eëª.r—jJ-s–eëcxi— öey–jxYy

‘sapta +RuShaya becomes

saptar.Shaya due to sandhi of

a sound with Ru. This is

Swarabhakti. Refer to previous

Section on Swarabhakti which

should be uttered like r+R

uÉÂþhÉÈ mÉÑýlÉÉiuÉþbÉqÉwÉïýhÉÈ

வ3 †ண: � …னா�வ †க4ம.ஷ…ண:

punAtu+aGamarShaNaH are

the Padams. ‘tu’+’a’ becomes

tva as per Sandhi.

79


pk¡—YJ e¡–dxZû—Niªr–YJ

sÉ–rÉ¶Éþ qÉ G –iÉÇ cÉþ qÉå– ல…ய.ச † ம � …த(ச ேம

m–jÒ— i E–ZI P— ¥i–

Here mE which has ‘E’ sound

becomes ma as per Sandhi.

Then the words should have

distinct pause. When recited

fast or together it is heard as

maRutanja ca, without pause.

AÉmÉÉåý uÉÉ CýSóè xÉuÉïýÇ ÆÌuÉµÉÉþ

ஆேபா … வா இ …த3óè ஸவ…�

B¥ex– px C–bóè sªp–I—

The ‘ai’ sound becomes ‘A’

sound when followed by a

vowel letter. Then the pause

should be distinct.

¶ÉÉËUþ¹-lÉåÍqÉ¶É xÉålÉÉÌlÉ aÉëÉqÉýhrÉÉþ uÉÑýuÉïzÉÏþ cÉ

ேஸனான/ $ரா3ம …�யா †-[ …வஶீ†

¥diyÒ ¥sdxdy öMxi–Yõx—

p¡–ªpqz— P

The ‘au’ sound of grAmaNyau

becomes ‘Av’ due to Sandhi

before u of urvaSI, v added to

urvaSi becomes vurvaSI. The

pause must be distinct

between yA and vu.

This is similar to Medha

sUktam example for vowel

pause (hiatus) between words.

80


6.5.4 Sandhi not performed

Ref Article – Basics of Veda – Vowel Sandhi in Articles Page

Example Comments

MüýsmÉrÉþliÉÏ FýkuÉïÇ

க…7பய †�த� ஊ …�4வ�

K–mðj—Çz D¦–ªcûI

KalpayantI is a dual verb that is

not subject to Vowel Sandhi.

These type of words are called

Pragraha.

So to indicate that the tI does not

combine with U, distinct pause is

given.

xÉýqÉÏcÉÏý EUþxÉÉý iqÉlÉÉÿ |

ஸ …மNசீ … உர †ஸா … �மனா ‡

s–izPz– Dk—sx– Ãdx˜

Here samIcI is a pragraha that is

not subject to vowel Sandhi with

following vowel u.

qÉÉ ±ÉuÉÉþmÉ×ÍjÉýuÉÏ AýÍpÉ

மா �3யாவா † �தி …2வ � அ…ப�4

ix bõxpx—e£ay–pz A–hy

dyAvApRuthivI is a pragraha;

vI does not have Sandhi with

following vowel ‘a’.

ÌuÉþzÉýiÉÉåUÉåþ AliÉËU¤É The padams here are

viSata+urO which is pragraha.

81


வ� †ஶ …ேதாேரா † அ�த-,

py—q–¥Zx¥kx— AÇky±

There is a Sandhi that results in

viSatOrO that does not combine

with ‘a’.

6.6 Ending in Visargam

Ref Article – Basics of Veda – Visarga Sandhi in Articles Page

These are subject to Visarga Sandhi. The results of the same could be

1. The Visarga letter is substituted with another letter.

2. Visarga is dropped.

3. The first letter end vowel is changed. This may combine with

following word or not.

4. Avagraha is formed.

6.6.1 Substitution of Letter

Example Comments

uÉÉeÉþ¶É qÉå

வாஜ †.ச ேம,

pxR—Ò ¥i

When Visargam becomes a

halant like s,S,Sh, then the letter

pause occurs before the Visarga

substituted letter. Then here Sca

needs to be rendered together.

There will only be letter pause

between ja and Sca.

82


lÉqÉþxiÉå நம†�ேத di—¥së

The letter pause is between ‘ma’

and stE. stE is rendered

together.

lÉqÉþ(kh) MüMÑüýpÉÉrÉþ ÌlÉwÉýÌ…¡ûhÉå (h gets the light stress)

நம†(�2)க>…பா4ய † நிஷ …Tகி3ேண ‡

di—(t§)KK¡–hxj— dyr–O§My¥Y

Similar to above. The visargam

become kh sounding jihvAmulya.

Refer to Article on Visarga

Sandhi. Pause is after kh.

lÉqÉþÎzzÉýuÉÉrÉþ cÉ

நம†.ஶி …வாய† ச

di—qüy–pxj— P

Similar to above examples.

SSi is taken together normally a

letter pause after ma.

CýSÇ ÆÌuÉwhÉÑý ÌuÉïcÉþ¢üqÉå

இ…த3� Æவ�%V …. வ�ச †$ரேம

C–bI Æpyrê¡–ª pyP—öK¥i

When the visargam becomes ‘r’

it needs rendering with next word

but with a letter pause after ‘r’

83


6.6.2 Visarga is dropped

Example Comments

xÉ rÉzÉÉåþuÉÉlÉç pÉýuÉÌiÉ |

ஸ யேஶா †வா9 ப…4வதி

s j¥qx—px© h–pZy

Sa is SaH with its visargam

dropped as per Rule. So a

distinct pause should be made

as if made between words.

ÌSuÉóèþ ÂýSìÉ EmÉþÍ´ÉiÉÉÈ

தி3வóè† 3 …�3ரா உப †.-தா:

k¡–öbx De—öqyZxJ

rudrAH has its visargam dropped

to become rudrA and followed by

‘u’ a vowel; a pause is elongated

little more than a word pause.

SåýuÉÉ AaÉëåý iÉSþoÉëÑuÉ³Éç

ேத…3வா அ$3ேர … தத †3 33வ99

¥b–px A¥öM– Zb—ög¡pË§

devAH has its visargam dropped

to become devA and followed by

‘a’ vowel so pause must be

distinct like above example.

ÎxiÉýaqÉÉrÉÑþkÉÉý U¤ÉþxÉåý dhAH has its visargam dropped

so a word pause must be

distinctly given.

84


�தி …$3மா" †தா …4 ர, †ேஸ…

sëy–³xj¡—cx– k±—¥s–

6.6.3 Change of letter

Example Comments

WåûýiÉÏ ÂýSìxrÉý mÉËUþhÉÉå uÉ×hÉ£Ñü

ேஹ…த� 3 …�3ர�ய … ப-†ேணா

4�ண$� ¥t–Zz k¡–öbsõ– eky—¥Yx p£Y°¡

By rule hetiH with visargam

becomes hetI before following

letter ‘r’ as per Sandhi. So the

pause must be distinct after

uttering ‘tI’.

UÉeÉÏ UÍ¤ÉýiÉÉ rÉ¶ÉÉÍkÉþmÉÌiÉý-rÉï¶Éþ

ராஜ� ர,ி …தா ய.சாதி †4பதி …

kxRz k±y–Zx jÒxcy—eZyª

This is similar to above rAjiH

has become rAjI example

where letter with visargam

elongates.

AýmÉÉzlrÉÑþÎwhÉ-qÉýmÉÉ U¤ÉþÈ Here apaH becomes apA

before ‘r’ and word pause must

be distinct.

85


அ…பா.9" †%ண� ம…பா ர, †:

A–exqïõ¡—rêy-i–ex k±—J

6.6.4 Avagraha is formed

Ref Article – Basics of Veda – Avagraha in Articles Page

Example Comments

lÉqÉÉåþÅÍxÉýqÉSèprÉÉå நேமா †Åஸி …ம�3 4ேயா d¥ix— „sy–ib§¥hõx

The avagraha as per sIkSha has

the half the sound of its previous

letter. Avagraha requires a

pause after it, but in practice

many schools render it with an

extension of ‘a’ sound in the

second part instead of pause for

distinction that ‘a’ is present.

rÉÉåþÅmÉÉÇ mÉÑwmÉÇý ÆuÉåSþ | ேயா†Åபா� �%ப …� Æேவத†3

¥jx—„exI e¡rðI– Æ¥pb—

Similar example

rÉÉåÿÅxqÉÉlÉç ²åÌ¹ý ேயா‡Å�மா9 �3ேவ%X

Here yO has dheerga swaritam

and the pause/extension is made

after completion of dheerga

86


¥jx˜„sôx© ¥bûræy– swaritam.

WåûQûÉåÅuÉþ ,ேஹேடா3Åவ† ,¥t¥Wx„p— Similar to above examples

6.7 An anuswAram at the end:

These are also subject to normal combination rules.

The results could be as follows:

1. The anuswAram combines with following Letter

2. The anuswAram becomes gm or gg.

3. The anuswAram is retained and two words don’t combine.

4. There is a substitution of anuswAram for rendering together with next word.

6.7.1 AnuswAram combines with following Letter

Example Comments

rÉ–¥ÉålÉþ MüsmÉliÉÉ–-qÉ×YcÉþ qÉå–

ய…�ேஞன† க7ப�தா …-��$ச † ேம…

j–¥¹d— KmðÇx–-i£K§P— ¥i

They are taken together with a

letter pause distinctly between

‘m’ and ‘Ru’ so that the word is

not mistaken for mRu.

oÉÉýWÒûprÉÉþqÉÑýiÉ iÉåý lÉqÉþÈ

பா …3ஹு 4யா †8 …த ேத … நம†:

Here there is a short pause is

after yA to indicate Sandhi of

letters.

87


gx–t¡hõx—i¡–Z ¥Z– diJ—

iÉÉqÉ–ÎalÉuÉþhÉÉï–Ç iÉmÉþxÉÉ

தாம…$3ன/வ †ணா …� தப †ஸா

Zxi–²yp—ªYx–I Ze—sx

Similar example; M plus a of

agni form ma.

A–xqÉÉMüþqÉxiÉÑ– MåüuÉþsÉÈ

அ…�மாக †ம�� … ேகவ †ல:

A–sôxK—isë¡ – ¥Kp—mJ ||

asmAkam+astu; ma is formed.

6.7.2 AnuswAram becomes (gm) or (gg)

Example Comments

aÉýhÉÉlÉÉÿliuÉÉ aÉýhÉmÉþÌiÉóè WûuÉÉqÉWåû

க…3ணானா ‡��வா க…3ணப †திóè

ஹவாமேஹ

When a letter is followed by (gm)

or (gg) there is a short pause.

88


M–Yxdx˜Çûx M–Ye—Zyóè

tpxi¥t

rÉý¤qÉóè xÉÑýqÉlÉÉý AxÉþiÉç

ய…@மóè ஸு…மனா … அஸ †�

j–±§ióè s¡–idx– As—Z§

Similar to above

AÉmÉýzzÉòxrÉÉåýlÉÉ pÉþuÉliÉÑ

ஆப ….ஶò �ேயா …னா ப †4வ��

Be–qüò ¥sõx–dx h—pÇ¡

Similar a pause after (gg)

qÉÉýiÉUýòý Í´ÉrÉÇþ

மா …தர…ò .-ய †�

ix–Zk–ò– öqyjI

Similar to above.

89


6.7.3 AnuswAram is retained

Example Comments

ÆrÉ–¥ÉålÉþ MüsmÉiÉÉÇ– qÉlÉÉåþ rÉ–¥ÉålÉþ Æய…�ேஞன † க7பதா …� மேனா † ய …�ேஞன

Æj–¥¹d— KmðZxI– i¥dx— j–¥¹d—

When anusvAram is retained

normal word pause is given.

rÉS–SxxÉþÇ mÉërÉ––iÉÏUWûÉ

யத …3த3�ஸ †� ரய ……த�ரஹா

jb–bsþ—I öej––Zzktx

Similar example.

oÉë¼þeÉ¥ÉÉ– –lÉÇ mÉëþjÉ––qÉÇ mÉÑ––UxiÉÉ–Sè

3ர!ம †ஜ�ஞா …ன� ர †த …2ம�

�… …ர�தா …�3

ögÖ—R¹x––dI öe—a––iI e¡ ––ksëx–b§

Here tow successive words

with anusvAram have pause

with following words.

90


6.7.4 AnuswAram is recited differently

Example Comments

SìÌuÉhÉgcÉ qÉå

�3ரவ� †ண(ச ேம,

öbpy—YT§ P ¥i,

‘Mca becomes ~jca so that is

taken together with letter pause

between Na and ~jca

lÉ¤Éþ§ÉlSåýuÉÍqÉþÎlSìýrÉÇ

ந, †�ர� ேத …3வமி †��3- …ய�

d±—öZd§ ¥b–piy—öÉy–jI |

Similar example here M

becomes ‘n’ before ‘ta’ varga

letter de

AýÎalÉrrÉÉ aÉpÉïÇþSÍkÉýUå

அ…$3ன/1யா க3ப †� த3தி …4ேர

A–²yj§jx MªhI— bcy–¥k

Here M is nasalized before ‘yA’

and needs to be rendered

together.

ESÒþ¨ÉýqÉuuÉþÂhÉý Similar example M becomes

nazalised before ‘va’ and vva

needs to be rendered together.

91


உ� †3�த…ம4வ †3ண … பாஶ†

Db¡—À–ip§p—k¡Y– exq—

6.8 Ending is a halant

Halant letters are subject to Consonant Sandhi with some exceptions and special

rules.

The result of combination could be

1. Halant joins following vowel to form a Swarayukta/Samyukta akshara.

2. Halant joins the next letter to be rendered together

3. There is simple substitution of letter(s) – Normal Sandhi rules

4. Special Consonant Sandhi Rules are applied combining words with or

without new letter formation

6.8.1 Halant forms a Swarayukta/Samyukta akshara:

Example Comments

ÆÌuÉ–²ÉlÉ–qÉ×iÉþ C–Wû pÉþuÉÌiÉ

Æவ� …�3வான …��த † இ …ஹ ப †4வதி |

Æpy–bûxd–i£Z— C–t h—pZy

vidvAn+amRuta join creates ‘na’

a short pause between dvA and

na is given to indicate sandhi of

words.

92


mÉËUþmÉÉiÉ-qÉ–xqÉÉ-lÉËUþ¹åÍpÉUÍµÉlÉÉ–

ப-†பாதம …�மா ந-†%ேடப�4-ர.வ�னா

eky—exZ-i–sôxdky—¥ræhykqûydx–

asmAn+ariShTE give ‘na’

mÉ–zÉuÉþÈ mÉ–zÉÔlÉå–uÉÉ uÉþÂlkÉå–

ப …ஶவ †: ப …ஶூேன …வா வ†3�ேத…4

e–qp—J e –q¢¥d–px p—k¡¥Ê–

paSUn+eva gives the letter nE.

iÉÉÌlÉþÎlSì–rÉÉuÉþiÉÈ MÑüÂ |

தான/ †��3- …யாவ †த: >3

Zxdy—öÉy –jxp—ZJ K¡k¡ |

tAn+indriya combine creates ‘ni’

6.8.2 Halant joins next letter with only letter pause

Example Comments

xuÉ–ÎxiÉlÉÉå– oÉ×Wû–xmÉÌiÉþUç SkÉÉiÉÑ When halant is followed by a

consonant, they are taken

together with only with letter

93


�வ…�தி ேநா … 3�ஹ …�பதி † த3தா4�

sû–sëy ¥dx– g£t–sðZy—ª bcxZ¡

pause. Here theare is no

Sandhi of letters nor any of

the rules explained in

previous section become

applicable.

Wåû–ÌiÉU–xqÉÉlÉç uÉ×þhÉ£Ñü ÌuÉ–µÉiÉþÈ |

ேஹ…திர…�மா9-4� †ண$�

¥t–Zyk–sôx© p£—Y°¡

Similar to above

rÉÉ iÉåþ Wåû–ÌiÉUç-qÉÏþRÒû¹qÉ–

யா ேத † ேஹ…தி-மN †_4%டம …

jx ¥Z— ¥t–Zyª-iz—X¡ræi–

Similar to the above

SzÉÉåSÏþcÉÏ –Uç SzÉÉå–SèkuÉÉï

த3ேஶா-த� †3சீ …-த3ேஶா …�3�4வா�

b¥qxbz—Pz–ª b¥qx–ªÆûx

Similar to the above

94


6.8.3 There is substitution of Letters

Example Comments

iÉxqÉÉÿSè-ÌuÉýUÉQûþ eÉÉrÉiÉ த�மா‡�3-வ� …ராட †3ஜாயத Zsôx˜b§ py–kxW—RxjZ

In Consonant Sandhi the first

letter of a class here ‘t’ becomes,

third letter of its class here ‘d’

before Soft Consonants and

Vowels. tasmAt+virADa, join

leads to substitution of ‘t’ as ‘d’.

Here the letters ‘d’ and ‘vi’ must

be recited distinctly with a letter

pause. Here ‘d’ and ‘vi’ ; it should

not be recited in one breath as

dvi which many a times may

bring unintended meaning.

LiÉSjÉuÉïzÉÏUç.wÉÇ ÆrÉÉåÅkÉÏ–iÉå ஏதத3த2வஶ,ீ.ஷ †� ÆேயாÅத� …4ேத GZbaªp qzª.r—I Æ¥jx„cz –¥Z

‘etat’+’atharvaSir.Sham is the

combination.Since it becomes

‘da’ a small pause is made after

da to indicate sandhi.

rÉjÉÉþ lÉýxxÉuÉïýÍqÉ-‹aÉþS யதா†2 ந …� ஸவ …மி�-ஜக †3த3

jax— d–sþªp–iy-¸M—b

In ‘it’+’jagat’ combination, ‘t’

becomes ‘j’ before ‘ja’, ‘jja’ is

taken together with clear letter

pause between ‘j’ and ‘ja’

rÉlqÉÑZÉÇý iÉSÉþWûuÉýlÉÏrÉÉåý In ‘yat’+muKam’ , ‘t’ becomes ‘n’

which should be taken with letter

95


ய98க2� … ததா †3ஹவ …ன�ேயா jÍ¡LI– Zbx—tp–dz¥jx–

pause continusouly. This is

similar to tat+me becoming

tanmE

SËUþSìý³ÉÏsÉþsÉÉåÌWûiÉ த3-†�3ர…�-ந�ல†ேலாஹித

bky—öb–Ëzm—¥mxtyZ

Daridrat+nIlalohita becomes

‘nnI’. Take ‘n’ and nI with letter

pause distinctly.

mÉëÉgcÉýóèý wÉ•ûÉåþiÉÉUÇ ரா(ச …óè… ஷG3ேடா †4தார� ¢ öexº–óè– r¥Wèx—ZxkI

ShaT+hOtAram. Combination of

T+h makes T as D and ho

becomes Dho. Takes DDho with

a letter pause.

iÉŠ¤ÉÑþ SåïýuÉÌWûþiÉÇ தWச,ு† ேத…3வஹி †த� ¢ Z¶±¡—ª ¥b–pty—ZI

In ‘tat’ + cakShur , ‘t’ becomes ‘c’

that needs to be taken along with

ca with a letter pause.

ÍzÉýuÉÉ qÉSþxiÉÉýgeÉÑ¹ÉÿÇ ஶி …வா மத †3�தா …(-ஜு%டா ‡� ேத…3ேவ 4ய…. qy–px ib—sëx–-Ø¡ræx˜I

In tAn + juShTAm, n bcomes ~j

nasal of ca varga. Recite ‘~j’ and

ju with clear letter pause.

iÉcNÇûýÆrÉÉåUÉ uÉ×þhÉÏqÉWåû In tat+Sam, ‘t’ becomes ‘c’ and

‘Sa’ becomes Ca. Take c and Ca

together with letter pause.

96


தWச…2� Æேயாரா 4� †ண�மேஹ ZPâI–Æ¥Ðxkx p£—Yzi¥t AýxqÉÉssÉÉåýMüÉSýqÉÑÇ

அ…�மா7-ேலா…காத …38�

A–sôx¥møx–Kxb–i¡I

In asmAt+lokAt, t becomes l , the

llO must be rendered with letter

pause.

LMüÉåý uÉÉ AýqÉÑÎwqÉ ÆssÉÉåýMåü qÉ×ýirÉÑÈ வா அ…8%மி †Æ7ேலா …ேக �� …�":

G¥Kx– px A–i¡rôy— Æ¥møx–¥K i£–Zõ¡J

This is similar to

above,amuShmin’s ‘n’ is

nasalized.

6.8.4 Usage of special Sandhi Rules

Example Comments

ÌuÉzÉþsrÉÉåý oÉÉhÉþuÉÉóè EýiÉ

வ�ஶ7 †ேயா … பா3ண †வாóè உ…த

pyq—¥mõx– gxY—pxóè D–Z |

Here the ‘n’ in bANavAn bcomes

(gm) due to vedic grammar rule.

There will be short pause after

‘gm’ before vowel.

97


xÉuÉÉïóèþ AýalÉÏóè UþnxÉÑýwÉSÉå

ஸவாóè† அ…$3ன�óè ர † ஸு …ஷேதா†3

sªpxóè— A–²zóè k—fþ¡–r¥bx

Here there are two (gm)s short

pause makes the distinction that

vedic Sandhi Rules exist.

AWûÏòþ¶Éýý xÉuÉÉïÿlÉç அஹ�ò †.ச … … ஸவா ‡( Atzò —Ò–– sªpx˜©

The (gg) gets formed out of ahIn,

n becomes (gg) due to following

joint letter + ca becoming Sca.

There is only letter pause

between letters and are taken

together but pause before next

word sarvAn.

iÉÏ¤hÉ-Sýòý¹íÉrÉþ kÉÏqÉÌWû த�@ண-த …3ò…%Gராய† த�4மஹி Zz±§Yb–ò–öræxj— czity

Similar example

pÉÌuÉýwrÉSè uÉwÉýOèjxuÉÉWûÉý ப4வ� …%ய�3 வஷ …G�2 �வாஹா hpy–rõb§ pr–U§ a§sûxtx–

When ‘th’ is added before

uShmAn letters, the ‘th’ and here

‘s’ are taken together with a

letter pause. Some scholars give

additional pause. Note the style

of your school.

98


oÉë¼þ³ÉýÎxqÉlÉç 3ர!ம †9ன …�மி9 ögÖ—Ë–sôy©

In this example, ‘n’ doubles after

vowel asmin. Brahman+asmin,

here the n and na should be

rendered distinctly with a letter

pause.

6.9 General Rule of combination :

When a halant letter is followed by other Consonant with no Sandhi

normally they are rendered together with a letter pause.

When a word ends in vowel sound and is followed by another word with a

Consonant, (normally with no Sandhi explained or other rules of joining,

it is rendered distinctly as two words with a normal word pause.

Note: Observe the nature of words joined like tatte, yatte, sante, santvA;

even if they are given in the books separately, observe your Guru for rendering

similar words. There is no need for extra word/padam pause.

Readers must remember the exceptions are Swarabhakti and Swara

Samgjyai explained in previous Sections.

Areas to take care is that ‘m’ may not be rendered along with following words like

pra, pa, m; the intended meaning conveyed by SamhitA should not be changed,

so a learner gets to grasp them by experience.

6.10 Recital flow should match with Padam in SamhitA:

SamhitA is rendered by combination of padams and the padams shall be

rendered distinctly in recital if they are represented separately in Pada Paatam

as it is a mirror of SamhitA.

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We give below some examples where a Padam/Word is given as

combined or a split of two padams:

Padam with vAkyam Comments

TS 1.2.13.2 Padams - pra | yacCa |

mÉë | rÉ–cNû– | mÉë rÉþcNû –

ர | ய …Wச …2 | ர ய †Wச…2

öe | j–Pâ– | öe j—Pâ–

pra yacCa shall be rendered

with pause as they are

separate padams.

If prayacca is a single padam,

then, there will be just a letter

pause and prayacca will be

rendered continuously.

TS 2.1.1.5 Padams- paSUn | pra | janayati

mÉ–zÉÔlÉç | mÉë þ | eÉ–lÉ–rÉ–ÌiÉ– |

mÉ–zÉÔlÉç mÉë eÉþlÉrÉÌiÉ–

ப …ஶூ9 | ர | ஜ…ன…ய …தி … |

ப …ஶூ9- ர ஜ†னயதி …

e–q¢© | öe | R–d–j –Zy– | e–q¢© öe R—djZy–

Rendered as paSunpra yaccati

and n will join p with letter

pause and word pause before

yaccati.

If prajanayati was a single

padam, then it will be rendered

together with paSUnprajanayati

TS 1.7.6.7 punaH | A | laBate |

Rendered as punarA labate

(sandhi of A with visargam ‘r’ of

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mÉÑlÉþÈ | AÉ | sÉ–pÉ–iÉå– | mÉÑlÉ–UÉ sÉþpÉ–iÉå

�ன†: | ஆ | ல …ப …4ேத … | �ன…ரா ல†ப …4ேத

e¡d—J |B | m –h–¥Z– | e¡d–kx m—h–¥Z

punaH). Word pause between

A and labate.

TS 4.3.6.1 antarikSham | ca | vi | bAdhatAm |

A–liÉËUþ¤ÉqÉç | cÉ– | ÌuÉ | oÉÉ–kÉ–iÉÉ–qÉç ||

A–liÉËUþ¤ÉÇ cÉ – ÌuÉ oÉÉþkÉiÉÉÇ ||

அ…�த-†,� | ச … | வ� | பா…3த …4தா…� ||

அ…�த-†,( ச … வ� பா†3த4தா� |

A–Çky—±I | P – | py | gx–c–Zx–I ||

A–Çky—±I P – py gx—cZxI ||

Rendered as antarikSha~jca vi

bAdhaAm since preposition vi

is a separate padam.

TS 1.5.3.3 ni | vartasva | punaH | agne |

ÌlÉ | uÉ–iÉï –xuÉ– | mÉÑlÉþÈ | A–alÉå– |

‘ni’ vartasva is rendered

separately since they are

distinct padams in BhU

sUktam.

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ÌlÉ uÉþiÉïxuÉ – mÉÑlÉþUalÉ

நி | வ …த…�வ … | �ன†: | அ …$3ேன… |

நி வ †த�வ… �ன†ர$3ன

dy | p–ªZ–sû – | e¡d—J | A–¥²– |

dy p—ªZsû– e¡d—k²

TS 1.5.2.2 indriye | prati | tiShThati |

C–ÎlSì–rÉå | mÉëiÉÏÌiÉþ | ÌiÉ–¸–ÌiÉ– |

uÉåÎlSì–rÉå mÉëÌiÉþ ÌiÉ¸ÌiÉ இ…��3- …ேய | ரத�தி † | தி …%ட…2தி … | ேவ��3-…ேய ரதி † தி%ட2தி

C–öÉy–¥j | öeZzZy— | Zy–rç–Zy– |

¥pöÉy–¥j öeZy— ZyrçZy–

Indriye prati tiShThati rendered

distinctly as they are separate

Padam.

TS 1.6.10.5 pari | gRuhNAti | manaH |

mÉËUþ | aÉ×–ºûÉ –ÌiÉ– | qÉlÉþÈ |

‘pari gRuhNAti is rendered

separately with word pause.

In Second example that is

rendered together as

parigRuhNAti as it is one single

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mÉËUþ aÉ×ºûÉÌiÉ–qÉlÉÉ

ப-† | $3� …!ணா …தி … | மன†: |

ப-† $33!ணாதி … மேனா †Åஸி

eky— | M£–t§Yx–Zy – | id—J | A–sy – |

eky— M£t§YxZy– i¥dx—„sy TS 1.6.7.1 devatAH | pUrvaH |

parigRuhNAti |

Så–uÉiÉÉÿÈ | mÉÔuÉïþÈ | mÉ–ËU –aÉ×–ºûÉÌiÉþ |

Så–uÉiÉÉ –È mÉÔuÉïþÈ mÉËUaÉ×–ºûÉÌiÉ–

ேத…3வதா‡: | �வ †: | ப …- …$3� …!ணாதி † |

ேத …3வதா…: �வ †: ப-$33 …!ணாதி …

¥b–pZx˜J | e¢ªp—J | e–ky–M£–t§YxZy— | ¥b–pZx–J e¢ªp—J ekyM£–t§YxZy –

padam, with only letter pause

between ri and gRu

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Note: Our compilations are being adjusted and aligned to padams so that

following your Guru is easier.

6.11 Some Special Rules for SikShA

We give below some key rules learnt from SikShA recently and we will try to

keep updating further studies in future also.

Jata DarpaNam: Rule 141

mÉë, EiÉç, ÌlÉ, AÉ, ÌlÉÈ, xÉÑ, ÌuÉ, xÉqÉç ( ர, உ�, நி, ஆ, நி:, ஸு, வ�, ஸ�)

(�, ��, ��, , ��, ��, �, ��) LiÉåprÉÈ mÉUÇ ÌuÉ´ÉqÉÉå lÉ MüÉrÉïÈ |

LiÉimÉSxÉqÉÔWûiÉÈ E¨ÉUmÉSålÉ xÉÇÌWûiÉÉÎxiÉ cÉåiÉç rÉjÉÉ |

pra, ut, ni, A, niH, su, vi, sam eteByaH paraM viSramo na kAryaH |

etatpadasamUhataH uttarapadena saMhitAsti cet yathA |

First Condition is they are separate Padams and are prepositions.

All these padams should not be left separated from the following Padam

if they can be or are joined in a Vaakyam.

The guidance given here is say it with the following Padam as in

SaMhitA with only letter pause.

Example of Padam vAkyam with Comments

TS 1.2.8.1 Padams - suAyuShA | ut |

oShadhInAm |

vAkyam – svAyuShodoShadhInAm

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xuÉÉ–rÉÑÑwÉÉÿ | EiÉç | AÉåwÉþkÉÏlÉÉqÉç |

�வா…"ஷா ‡ | உ� | ஓஷ †த�4னா� |

sûx–j¡rx˜ | �� | Hxr—czdxI

xuÉÉ–rÉÑwÉÉåSÉåwÉþkÉÏlÉÉ–óè–

�வா…"ேஷாேதா3ஷ †த�4னா …óè …

sûx–j¡¥rx¥bxr—czdx–óè– TS 6.3.1.6 Padams - kar.Shati | ni | anye |

Mü–Uç–.wÉ–ÌiÉ– | ÌlÉ | A–lrÉå |

க… ….ஷ …தி … | நி | அ…9ேய |

K–ª–.r–Zy– | dy | A–¥dõ |

vAkyam – kar.Shati nyanye

MüþUç.wÉÌiÉ– lrÉþlrÉå

க†.ஷதி … �ய†9ேய

K—ª.rZy– dõ—¥dõ

TS 7.3.13.1 Bavantu | eti | prajA |

pÉ–uÉ–liÉÑ– | AÉ: | mÉë –eÉÉ |

ப …4வ …��… | ஆ | ர…ஜா |

h–p–Ç¡– | B | öe –Rx

vAkyam - BavantvA prajA

pÉþuÉ–liuÉÉ mÉë –eÉÉ

ப †4வ …��வா ர …ஜா

h—p–Çûx öe –Rx

TS 2.2.1.1 Padam - tam | niH | avapat |

iÉqÉç | ÌlÉ: | A –uÉ–mÉ–iÉç | vAkyam - tanniravapat

iÉÇ ÌlÉUþuÉmÉ–iÉç

105


த� | நி: | அ…வ…ப …� |

ZI | dy: | A–p–e –Z§ |

த� நிர †வப …�

ZI dyk—pe –Z§

TS 1.5.11.5 Padam - mahIm | u | su |

mAtaram |

qÉ–WûÏqÉç | E – | xÉÑ | qÉÉ–iÉUÿqÉç |

ம …ஹ�� | உ… | ஸு | மா…தர‡� |

i–tzI | D– | s¡ | ix–Zk˜I |

vAkyam - mahImUShu mAtaram

qÉ–WûÏqÉÔ–wÉÑ qÉÉ–iÉUóèþ

ம …ஹ�a …ஷு மா …தரóè†

i–tzi¢–r¡ ix–Zkóè— Note: u becomes U as per Vedic

grammar rule and su becomes Shu

TS 2.5.12.5 vi | pAjasA | vi | jyotiShA

ÌuÉ | mÉÉeÉþxÉÉ | ÌuÉ | erÉÉåÌiÉþwÉÉ ||

வ� | பாஜ†ஸா | வ� | �ேயாதி †ஷா ||

py | exR—sx | py | ¥RõxZy—rx || When such prepositions do not have sandhi

and are separate, the pause is shorter than

word pause.

vi pAjasA vi jyotiShA

ÌuÉ mÉÉeÉþxÉÉ– ÌuÉ erÉÉåÌiÉþwÉÉ ||

வ� பாஜ †ஸா… வ� �ேயாதி †ஷா

py exR—sx– py

¥RõxZy—rx ||

106


Note: When two such prepositions occur one after the other without any Sandhi or as separate

padam, they are taken together with letter pause. Kindly listen to rendering where they take

prapra, sampra together. The concept becomes clear to the learner.

Jata DarpaNam: Rule 142

lÉ, cÉ, ÌWû, E, Wû, xqÉ, uÉÈ, lÉÑ, DqÉç, uÉæ, iÉÑ, (ந, ச, ஹி, உ, ஹ, �ம, வ:, Y,

ஈ�, ைவ, �,) (ന, ച, ഹി, ഉ, ഹ, �, വഃ, നു, ഈമ്, ൈവ, തു,)

LiÉåprÉÈ AkÉÈ mÉÔuÉïiÉÈ ÌuÉ´ÉqÉÉå lÉ MüÉrÉïÈ | mÉSMÔüOûiÉÈ mÉÔuÉïmÉSålÉ xÉÇÌWûiÉÉ cÉåiÉç. ||

na, ca, hi, u, ha, sma, vaH, nu, Im, vai, tu, eteByaH adhaH pUrvataH

viSramo na kAryaH | padakUTataH pUrvapadena saMhitA cet.

Here guideline is join them with previous padam when it joins.

Example of Padam vAkyam with Comments

TS 4.7.11.2 Padams - vAjaH | ca | prasavaH

| ca |

uÉÉeÉþÈ | cÉ– | mÉë–xÉ– –uÉÈ | cÉ– | வாஜ †: | ச… | ர…ஸ… …வ: | ச … |

pxR—J | P– | öe–s –pJ | P – |

vAjaSca prasavaSca

uÉÉeÉþ¶É mÉëxÉ–uÉ¶ÉÉþ-ÌmÉ–eÉ¶É

வாஜ †.ச ரஸ …வ.சா†-

pxR—Ò öes–pÒx

TS 3.4.11.6 Padams – yat | cit | hi

rÉiÉç | ÍcÉ–iÉç | ÌWû |

rÉÍccÉ–Î®

107


ய� | சி …� | ஹி |

jZ§ | Py–Z§ | ty |

யWசி …�3தி4

j¶y –Æy

TS 6.1.11.6 Padams - tasmAt | u |

xÉÈ | iÉxqÉÉÿiÉç | E– | AÉ–zrÉÿqÉç

ஸ: | த�மா‡� | உ … | ஆ ….ய ‡� |

sJ | Zsôx˜Z§ | D– | B –qõ˜I |

xÉ iÉxqÉÉÿSè-uÉÉ–zrÉþÇ

ஸ த�மா‡�3-வா….ய †�

s Zsôx˜b§-px–qõ—I

TS 1.7.2.1 Padams-iti | Cinatti | iti | ha |

uvAca

CÌiÉþ | ÍNû–lÉÌ¨Éþ | CÌiÉþ | Wû – | E–uÉÉ–cÉ– | இதி † | சி …2ன�தி † | இதி † | ஹ… | உ…வா…ச…

CZy— | Qy–dÀy— | CZy— | t– | D–px–P– |

‘iti CinattIti hovAca

CÌiÉþ ÍNû–lÉ¨ÉÏÌiÉþ WûÉåuÉÉcÉ–

இதி † சி…2ன�த�தி † ேஹாவாச …

CZy— Qy –dÀzZy—

¥txpxP–

TS 3.3.8.5 Padams - etena | ha | sma | vai |

RuShayaH |

Metena ha sma vA RuShayaH

Here ha, sma, vA (vai originally

becomes vA before vowel) should

have only letter pause. Not treated

108


L–iÉålÉþ | Wû– | xqÉ– | uÉæ | GwÉþrÉÈ |

ஏ …ேதன† | ஹ… | �ம… | ைவ |

�ஷ †ய:

G–¥Zd— | t– | sô– | ¤¤p | Er—jJ |

as words in terms of Rule 142.

qÉå –iÉålÉþ W ûxqÉ– uÉÉ GwÉþrÉÈ

ேம…ேதன† ஹ �ம … வா

�ஷ †ய:

¥i–¥Zd— t sô – px Er—jJ TS 1.6.8.4 Padams - prajApatiH | vai | kaH |

mÉë–eÉÉmÉþÌiÉÈ | uÉæ | MüÈ |

ர…ஜாப †தி: | ைவ | க: |

öe –Rxe—ZyJ | ¤¤p | KJ |

mÉë–eÉÉmÉþÌiÉ–uÉæï MüÈ

ர…ஜாப †தி …ைவ க:

öe –Rxe—Zy–ª¤¤p KJ

TS 6.4.2.1 Padams - vasatu | nu | naH |

uÉxÉþiÉÑ | lÉÑ | lÉ –È |

வஸ †� | Y | ந…: |

ps—Z¡ | d¡ | d –J |

‘tu’, ‘nu’ ‘na’ should be taken with

letter pause only like previous

example

uÉxÉþiÉÑ– lÉÑ lÉþ

வஸ †�… Y ந †

ps—Z¡– d¡ d

109


TS 6.4.3.4 Padams - iti | Aha | uta | Im |

CÌiÉþ | AÉ–Wû– | E–iÉ | D–qÉç | A–lÉ–³É–qÉÑ–È | இதி † | ஆ…ஹ … | உ …த | ஈ …� |

அ…ன …9ன …8…: | CZy— | B–t– | D –Z | C¦–I | A–d –Ë–i¡–J |

vAkyam – ityAhotem

CirÉÉþWûÉå–iÉå-qÉþlÉ³É

இ�யா†ேஹா …ேதம†ன9ன

CZõx—¥tx–¥Z-i—d

TS 7.5.7.1 Padams - iti | te | tu |

CÌiÉþ | iÉå | iÉÑ | uÉÉuÉ |

இதி † | ேத | � | வாவ

CZy— | ¥Z | Z¡ | pxp

‘iti te tvAva

CÌiÉ– iÉå iuÉÉuÉ

இதி … ேத �வாவ

CZy – ¥Z Zûxp

110


7 Different Applications of (gm) and (gg)

7.1 Rules from prAtiSAkyam

Rule Chapter 16 || 16-13 ||

The following words have anusvÀra before s: ÌWû, mÉÑ, ÎeÉaÉÉ, ÎeÉbÉÉ, cÉqðÎxÉlÉã,

AiÉðqxÉrÉiÉç, AÉiÉÉðqxÉÏiÉç,MülÉÏrÉÉ, erÉÉrÉÉ, SìÉbÉÏrÉÉ, UbÉÏrÉÉ, ´ÉãrÉÉ, ¾ûxÉÏrÉÉ,

uÉxÉÏrÉÉ, pÉÔrÉÉðqxÉÈ, eÉÍ¤ÉuÉÉ, eÉÎblÉuÉÉ, ÎeÉÌaÉuÉÉ, eÉÏÌaÉuÉÉ,iÉÎxjÉuÉÉ, SÉµÉÉ,

SÏÌSuÉÉ, mÉÌmÉuÉÉ, mÉÏÌmÉuÉÉ, ÌuÉ²É, ÌuÉÌuÉÍzÉuÉÉ, zÉÑ´ÉÑuÉÉ, xÉxÉ×uÉÉ.

When this anuswAram is followed by s,Sh based on grammar, it becomes (gm)

or (gg) based on the rules followed

ஹி, �, ஜிகா3, ஜிகா4, ச ðஸிேன, அத ð�ஸய�,

ஆதாð�A�,கன �யா, �யாயா, �ரா4கீ௪யா, ரகீ4யா, .ேரயா,

!ரAயா, வAயா, �4யாð�ஸ:, ஜ,ிவா, ஜ$4ன/வா,

ஜிகி3வா, ஜ�கி3வா,த�தி2வா, தா3.வா, த�3தி3வா, பப�வா,

பMப�வா, வ��3வா, வ�வ�ஶிவா, ஶு.3வா, ஸ��வா.

ty, e¡, RyMx3, RyNx4, P~Ii§sy¥d, AZ~Ii§sjZ§,

BZx~Ii§szZ§,Kdzjx, Rõxjx, öbx4Nz4jx, kNz4jx,

111


¥öqjx, ötszjx, pszjx, h¢4jx~Ii§sJ, R±ypx,

RN§4dypx, RyMy3px, RzMy3px,ZÓy2px, bx3qûx,

bz3by3px, eeypx, ezeypx, pyb§3px, pypyqypx,

q¡öq¡px, ss£px.

|| 16-14 ||

The vowels A, I, and U have anusvÀra, when they are followed by si or Shi final.

||16-15 || Even when the i is altered.

Not, under any circumstances, in a dissyllabic word.

7.2 Explanation with Examples

Rule 16-13 clearly states that ‘M’ is added before a letter when a suffix, particle is

added with letter‘s’ or its converted form ‘Sh’.

Some example we come across normally are given as examples

Base Words+ Particle/Suffix As seen in Vaakyam

TS 4.5.1.2

ÌW + xÉÏÈ = ÌWûóèxÉÏÈ

ஹி + A: = ஹிóèA:

ty + szJ = tyóèszJ

qÉÉ ÌWûóèþxÉÏýýÈ mÉÑÂþwÉÇý

மா ஹிóè †A……: �3 †ஷ …(

ix tyóè—sz––J e¡k¡—rI–

TS 4.5.3.1

112


ÎeÉbÉÉ + xÉiÉ = ÎeÉbÉÉóèxÉiÉç

ஜிகா4 + ஸ� = ஜிகா4óèஸ�

RyNx +sZ§ =RyNxóèsZ§§

ÎeÉbÉÉóèþxÉSèprÉÉå qÉÑwhÉýiÉÉÇ mÉiÉþrÉåý

ஜிகா4óè †ஸ�3 4ேயா8%ண …தா�

RyNxóè—sb§¥hõx i¡rê–ZxI

TS 1.2.14.4

SÏÌSuÉÉ + xÉqÉè = SÏÌSuÉÉóèxÉqÉè த�3தி3வா + ஸ� =

த�3தி3வாóèஸ�

Bzbypx + si§ =

bzbypxóèsi§

SÏïÌSýuÉÉóèxÉýqÉlÉÑý ±ÔlÉç

த�3தி …3வாóè ஸ …மJ… �3d9

bzby–pxóès–id¡– bõ¢©

TS 2.5.11.1

ÌuÉ²É + xÉÈ = ÌuÉ²ÉóèxÉÈ

வ��3வா+ஸÈ = வ��3வாóèஸÈ

xÉSåuÉýiuÉÉrÉþ ÌuÉý²ÉóèxÉÉåý

ஸேத3வ…�வாய †

வ� …�3வாóèேஸா…

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pybûx + sÈ = pybûxóèsÈ

s¥bp–Zûxj— py–bûxóè¥sx–

TS 4.7.15.1

ÌuÉÌuÉÍzÉuÉÉ+xÉqÉè = ÌuÉÌuÉÍzÉuÉÉóèxÉqÉè

வ�வ�ஶிவா+ ஸ� =

வ�வ�ஶிவாóèஸ�

Pypyqypx + si§

pypyqypxóèsi§

ÆÌuÉýÍzÉ mÉëþÌuÉÌuÉÍzÉýuÉÉóèxÉþqÉÏqÉWåû

Æவ�…ஶி ர †வ�வ�ஶி …வாóè

ஸ†மNமேஹ…

Æpy–qy öe—pypyqy–pxóè

s—izi¥t–

Rule 16-14 states that anuswara is added when before dheerga ‘A’, ‘ee’ and

U when ‘si’ or Shi is final

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7.3 Examples for words with dheerga letters

Some common examples that we can find are given below

Base Words+ Particle/Suffix As seen in Vaakyam

TS 1.2.14.1

iÉmÉÔóèþÌwÉ

த�óèஷி

Ze¢óèry

iÉmÉÔòþwrÉalÉå eÉÑýÀûÉþ

த�ò †%ய$3ேன ஜு …!வா †

Ze¢ò—rõ¥² R¡–tûx—

TS 3.4.9.1

NûlSÉóèÍxÉ

ச2�தா3óèஸி

QÉxóèsy

SåÌuÉþMüÉýzNûlSÉóèþxÉÏuÉý

ேத3வ�†கா….- ச2�தா3óè †Aவ

¥bpy—Kx–qâÉxóè—szp

TS 7.1.2.1

erÉÉåiÉÏóèÌwÉ

�ேயாத�óèஷி

erÉÉåiÉÏýòýwrÉuÉþ ÂlkÉå

�ேயாத� …ò…%யவ † 3�ேத4

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¥RõxZzóèry ¥RõxZz–ò–rõp— k¡¥Ê

7.4 Different interpretation of Rule

Differing interpretation/application of these rules in Vedic books in representing

(gm) and (gg)

Take an example:

iÉmÉÔóèþÌwÉ + AalÉå = iÉmÉÔòþwrÉalÉå eÉÑýÀûÉþ

த�óèஷி + அ$3ேன = த�ò †%ய$3ேன ஜு …!வா †

Ze¢óèry + A¥² = Ze¢ò—rõ¥² R¡–tûx—

Here, Shya (conjunct consonant) gets formed due to the Sandhi of ‘Shi’ and ‘a’

therefore, applying normal rule the (gm) becomes (gg).

Rule 16-15 states that the anusvaram shall not change even if the ‘I’ is altered.

So some Scholars opine that the anuswAram represented as (gm) shall not be

changed and the text for the above example is taken with (gm) as follows:

iÉmÉÔóèþÌwÉ + AalÉå = iÉmÉÔóèþþwrÉalÉå eÉÑýÀûÉþ

த�óèஷி + அ$3ேன = த�óèþ%ய$3ேன ஜு …!வா †

116


Ze¢óèry + A¥² = Ze¢óèþrõ¥² R¡–tûx—

Note: (gm) is retained.

Some other areas this difference is found is when anuswAram is dheerga

(long) ‘A’, ‘I’ and “U’ even when the following word is different.

Normal Represenation Differing Represenation

zNûlSÉ–ò –xrÉÉmÉÉå– erÉÉåiÉÏ–ò –wrÉÉmÉÉå–

rÉeÉÔ–ò –wrÉÉmÉþ

ச2�தா …

3ò�யாேபா …

�ேயாத� …ò…%யாேபா …

யஜூ …ò…%யாப †�

qâÉx–ò –sõx¥ex– ¥RõxZz–ò–

rõx¥ex– jR¢–ò–rõxe

zNûlSÉ –óèþ–xrÉÉmÉÉå– erÉÉåiÉÏ–óèþ –wrÉÉmÉÉå–

rÉeÉÔ–óèþ –wrÉÉmÉþ

ச2�தா …

3óèþ�யாேபா …

�ேயாத� …óèþ…%யாேபா …

யஜூ …óèþ …%யாப †�

qâÉx–óèþ –sõx¥ex– ¥RõxZz–óèþ–

rõx¥ex– jR¢–óèþ–rõxe

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TS 4.5.1.1

AWûÏòþ¶É–– xÉuÉÉïÿlÉç eÉ–ÇpÉrÉ–lÉç

அஹ�ò †.ச … … ஸவா ‡9 -

ஜ …�ப4ய …��2

Atzò —Ò–– sªpx˜©

R–Ihj–©

AWûÏóèþ¶É–– xÉuÉÉïÿlÉç eÉ–ÇpÉrÉ–lÉç

அஹ�óè†.ச …… ஸவா‡9 -

ஜ…�ப4ய …��2

Atzóè—Ò–– sªpx˜©

R–Ihj–©

TS 4.7.10.2

cÉ¤ÉÑþUç-rÉ–¥ÉålÉþ MüsmÉiÉÉ–ò–, ́ ÉÉå§ÉÇþ

ச,ு†-ய …�ேஞன † க7பதா …ò…

.ேரா�ர †�

P±¡—ª-j–¥¹d— KmðZx–ò–,

¥öqxöZI

TS 4.7.11.2

cÉ¤ÉÑþUç-rÉ–¥ÉålÉþ MüsmÉiÉÉ–óèþ–, ́ ÉÉå§ÉÇþ

ச,ு†-ய …�ேஞன† க7பதா …óèþ…

.ேரா�ர †�

P±¡—ª-j–¥¹d— KmðZx–óèþ–,

¥öqxöZI

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TS 1.2.11.2

ÆuÉcÉÉåý AmÉÉþuÉkÉÏýòý xuÉÉWûÉÿ

Æவேசா… அபா †வத� …4ò … �வாஹா ‡

Æp¥Px– Aex—pcz–ò– sûxtx˜

TS 1.2.11.2

ÆuÉcÉÉåý AmÉÉþuÉkÉÏýóèþý xuÉÉWûÉÿ

Æவேசா… அபா †வத� …4óèþ … �வாஹா ‡

Æp¥Px– Aex—pcz–óèþ– sûxtx˜

TS 1.3.9.2

xiÉÉåýMüÉlÉÉýòý xuÉÉWûÉåýkuÉïlÉþpÉxÉÇ

�ேதா…கானா …ò…

�வாேஹா …�4வன†ப4ஸ�

¥sëx–Kxdx–ò–

sûx¥tx–ªcûd—hsI

TS 1.3.9.2

xiÉÉåýMüÉlÉÉýóèþ xuÉÉWûÉåýkuÉïlÉþpÉxÉÇ

�ேதா…கானா …óèþ

�வாேஹா …�4வன†ப4ஸ�

¥sëx–Kxdx–óèþ–

sûx¥tx–ªcûd—hsI

TS 1.5.7.6

zÉiÉiÉýUç.WûÉò xiÉ×óèþ WûÎliÉý

ஶதத ….ஹாò ��3óè † ஹ�தி

TS 1.5.7.6

zÉiÉiÉýUç.WûÉóèþ xiÉ×óèþ WûÎliÉý

ஶதத ….ஹாóèþ ��3óè † ஹ�தி

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qZZ–ªtxò së£óè— tÇy qZZ–ªtxóèþ së£óè— tÇy

When this matter was referred to some Vedic Scholars, they say this is clearly a

pAta bhedam in application of Rule. Some Scholars opine that when the words

are different, and followed by a Conjunct consonant, it is better to use (gg) only

as the rendering is easier.

Our guides have suggested us to use (gg) consistently when followed by a

Conjunct Consonant. Our Compilations follow this advice.

Readers are requested to follow the method taught/followed by their Gurus.

Documents

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